At times, it seems video surveillance is omnipresent in America, and Adam Rifkin (Underdog) spends the better part of two hours asserting just that in his fiction feature Look. This motion picture gains a historical footnote as the first U.S. mainstream movie to depict events solely through the "eyes" of surveillance video cameras. The preponderance of action unfurls in San Fernando Valley offices, stores, and shopping malls, where we witness security-camera footage of character interactions and events that would likely never occur if the perpetrators knew they were being "watched." In one subplot, Marty (Ben Weber), a beleaguered insurance salesman alienated by his co-workers, makes brazenly sexual passes at his female colleagues, secretly hatching a darker plan of his own on the side. Meanwhile, in another locale -- that of a department store at the Northridge Fashion Center shopping mall -- a chauvinistic floor manager named Tony takes full-scale sexual advantage of each of his female co-workers, letting all his inhibitions fly out the window in the "secrecy" of the back room. And in the same store, two minors, Holly (Heather Hogan) and Sherri (Spencer Redford), shop for seductive apparel in a twisted plot to seduce and presumably blackmail a high-school instructor. On a darker note, Rifkin follows convenience-store employees attempting to "bring down" a cadre of serial murderers tagged as "The Candid Camera Killers," whose doings attract the attention of police cameras. Other perspectives included in the film include those of ATM cameras, robot security cameras, and all sorts of other surveillance devices of varying ingenuity, all of which catch shocking behavior and are used to follow a myriad of substories.
by Nathan Southern synopsis