I am still not entirely clear how Nightcrawler managed to get seen, let alone made… Yes, it had a relatively slim $8.5 Million budget and yes, it appears to have received some money from a Californian tax credit scheme but how did a viciously left-wing film about a profoundly unsympathetic character manage to pick its way through the gears of a Hollywood machine that has grown disinterested in anything other than Summer money and Winter respectability? This film neither provides multinational corporations with a means of advertising to children nor aging sex symbols a chance to relaunch their careers by playing someone ugly, disabled, or mad.
I can imagine this film being made by Fritz Lang in the 1940s or Martin Scorsese in the 1970s but from a first time writer/director in the same year that the Academy nominated American Sniper for Best Picture? No. Not now. Never.
Nightcrawler is a film that is completely out of step with the cowardice, mendacity and incompetence of contemporary Hollywood. It is the cinematic equivalent of a black panther spotted diving into an English hedgerow or an enormous footprint discovered in the forests of the Pacific Northwest. It is a cryptid, evidence of a cinematic Golden Age that exists nowhere other than our desire for something bigger, better and different to what we actually have.
Described as a “neo-noir crime thriller”, Nightcrawler is best understood as a film that critiques American cultural values in a way that echoes the visual panache of Nicolas Winding-Refn’s Drive albeit with none of that film’s faith in the retributive powers of heteronormative masculinity.