The Perfect Neighbour – Film Review
Reviewed by Harris Dang on the 6th of June 2025
The Sydney Film Festival and Netflix presents a film by Geeta Gandbhir
Produced by Geeta Gandbhir, Nikon Kwantu, Alisa Payne, and Sam Bisbee
Cinematography Alfredo De Lara
Edited by Viridiana Lieberman
Music by Laura Heinzinger
Rating: TBA
Running Time: 95 minutes
Release Date: coming soon to Netflix in 2025
The Perfect Neighbour documents the tragic death of shooting victim Ajike Owens by her neighbour Susan Lorincz. Through the judicious use of bodycam footage, security tapes, dashcam footage, audio clips of interviews, and phone call transcripts, director Geeta Gandbhir takes the audience through the events of the killing and its aftermath.
The film starts in medias res as several dispatchers arrive on a street in Ocala, Florida. Numerous neighbours are in distress as they scream that someone has been shot. The film’s timeline spans two years, commencing with numerous police calls about a feud involving Owens over minor disputes, such as frolicking children supposedly knocking down signs, petty lies involving children allegedly carrying dogs to Lorincz’s car as a prank, and unfortunately numerous racial epithets.
The film’s title ingeniously conveys the cruel irony of American culture. It highlights the differences between many parts of humanity. It underlines how indifferent people are when faced with cruel events found immediately visible in our contemporary media. This is true whether it is the title of a sensationalist news report or the latest Lifetime film that is ready to be viewed in the supposed comfort of a suburban home.
Gandbhir and editor Viridiana Lieberman do an amazing job of compiling the footage and making it compelling to watch, particularly in terms of conveying the escalating stakes. The drama of the true story needs little embellishment. No dramatic re-enactments or retrospective interviews are needed. Similarly, the filmmakers display an admirably steady hand in accentuating the tragedy, pathos, and injustice of the narrative through sharp uses of Laura Heinzinger’s subtle score.
Thematically, the use of footage provides many perspectives, including the eyewitnesses, the police, and Lorincz. The use of multiple perspectives provides room for thought as audiences can examine the footage and decide for themselves, particularly through interactions between the police and how people respond. This then leads to questions that can be seen on a civil front.
Alongside the facts of racial violence that it shows in percentages (in text overlays) via the establishment of the “Stand Your Ground” laws, the film also notes that Lorincz is referred to as a “Karen”. A “Karen” is a white woman who uses her privilege to hold power over other people. Consequently, the film raises questions as to why Lorincz shot Owens. It makes it clear that she did not do it out of fear but asks if she used her privilege to weaponise the police force to get her way.
Even with the film’s compelling questions and layers, Gandbhir inevitably does not provide easy answers about why this conflict quickly escalated. The fact is Owens’ children Isaac, Afrika, Israel, and Titus are left without a mother and Lorincz manipulated the truth to the police for her own means. The film ends with a prolonged interview between Lorincz and two police officers. They see through her inconsistencies and take her in for an arraignment with the trial playing over the end credits.
The Perfect Neighbour is an enraging indictment of gun politics and hate crime in America and a fantastic piece of innovation in the documentary genre. Highly recommended.
Summary: The Perfect Neighbour is an enraging indictment of gun politics and hate crime in America and a fantastic piece of innovation in the documentary genre. Highly recommended.
5
Outstanding
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