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As the opening credits roll on Police Beat, a 2005 film by writer/director Robinson Devor, multiple exposures of a table graph of abbreviations slide around in every direction. This table is printed on a wall above a bank of computers at the Seattle Police Department where Z, a Senegalese immigrant and bicycle cop, writes his reports, and the abbreviations represent categories that Z must assign to his reports. Although the table looms large physically over the room, over Z, and over the atmosphere of the film, he finds it impossible to fit the calls to which he responds—usually grisly, rarely sensical, and all based on real-life Seattle police reports—into the police departments categorical order, nor can he seem to fit the events of his own personal life into any order that makes sense.
Read the rest of Ken Kaminski’s article from issue #17.
Bikes on Film Archive:
The Bicycle Thief – Issue #1
Bicycle Film Festival 2007 – Issue #2
Ski Boys – Issue #7
Bicycle Film Festival 2008 – Issue #8
Pee Wee’s Big Adventure – Issue #9
2 Seconds – Issue #10
B.I.K.E. – Issue #12
Breaking Away – Issue #13
RAD – Issue #15
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