The reason for focussing so closely on the details of “Spotlight,” on what’s in and what’s out, is that the movie leaves nothing else to focus on, because it has no style. Style in movies is a living symbol—an act of elision that, whether in image or gesture, in visual composition or mode of performance, conveys far more than is displayed in action. If images are tiles in a mosaic, stylistic flourishes are cinematic box tops that suggest contents that are not on view but are integral to the film. For “Spotlight,” the absence of style—the style of no style, of a literal-minded and earnest realism that conveys the idea of the story without reaching into its further implications—places attention squarely on what the movie is about.
The array of incidents and ideas that McCarthy and Singer round up and pull together is far narrower than the ones that the premise implies. They’ve got hold of a subject that’s too big, too complex, too unruly for their imaginations.
Pois... é um pouco isso. E como em 2015 o factor choque da pedofilia na igreja católica é igual a 0, nem sou americano —e por isso mesmo, menos interessado nos detalhes do procedimento do caso— restam poucos motivos de interesse em Spotlight.
Entretanto também li que isto vai ao "fundo da questão" como nos filmes de Wiseman. Credo, as coisas que se escrevem... Ainda para mais em locais respeitáveis.