Early in his new film “The Pigeon Tunnel,” Errol Morris creates one of the most vivid images of a career packed with them: a man in a suit walking through a meadow filled with mirrors.
He’s always had a gift for finding specific and memorable visual metaphors for the stories he tells and the themes he’s drawn to; here, what’s noteworthy isn’t just the mirrors but the way the man keeps moving away from them.
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