The more sensitive audience members might not be able to take things like the bizarre car ride where women freely strip, nor will they stomach a child wandering amidst a table full of crack cocaine. There’s a furious, untamed energy pulsating through the movie, and that’s part of what makes it such a joy to watch despite some of the more disturbing moments.
However, given the strength of the filmmaking and its use of real locations and people, you’re not likely to care one way or the other. Given the style and the bookend framing device, there’s an obvious “found-footage” conceit going on that’s fooled quite a few people - apparently, there were riots at the Atlanta Film Festival and Atlanta Police contacted the filmmakers because of the home invasions - but honestly, it’s not too hard to tell that it’s a fictional narrative with enough collaboration and realism to make it feel true. Still, a move needs to be made and he quickly organizes a drive-by, thus setting into motion a nasty tug of war with severe consequences. Following the reunion festivities, Snow wastes no time in vocalizing his vengeful appetite, ignoring the fact that it’s probably a bad idea considering he just got out of jail. The police get involved and manage to arrest him on some vague charges, and the film picks up some time later after a brief stint in prison. He’s more or less the king of the hill, and it’s only a matter of time before someone attempts to dethrone him - after a few compassionate sequences involving a tour of make-shift monuments to the deceased and a visit to his grandmother’s house (where she suggests he get a good job), the subject gets shot off-camera by an unknown party. Our protagonist, talking a mile a minute, is a fascinating personality: we’re with him as he throws parties, slings drugs, visits his baby and “baby momma,” and engages in drug-related robberies. It’s nice to see the residents of the neighborhood with a non-judgmental eye, outside of the usual exploitative television program or issues doc. While there is very little narrative to cling to, you won’t care - most of the interest is experiencing the undiluted way of living with someone very nestled into the lifestyle.
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From then on the movie operates in cinéma vérité style (with only a few passing acknowledgements to the presence of the camera), legitimately feeling like an amateur shooting his pals as opposed to an experienced cinematographer faking it. When it resumes filming the Bluffian passes it off to a friend, situating himself in front of the camera to detail his various exploits.
Well, he gets more than what he bargains for once he meets the dealer Snow - after encouraging them to taxi him to his home, he brandishes a gun and the camera abruptly shuts off. The male in charge shotgun tapes the entire experience, likely to show to his buddies the “insane shit” they had done that day. Starting with an audience surrogate of sorts, a group of nervous college kids head to the Bluff (a crime ridden area in Atlanta) in hopes of scoring some drugs. Filmmaker Damon Russel completely disappears, letting subject Curtis Snow carry the entire film, resulting in gritty, authentic document of the culture and lifestyle in Atlanta’s favorite little quarters. A jolt of, uh, dope into the veins of the micro-indie/found footage scene, “ Snow On Tha Bluff” is a wildly kinetic tour through one of the most dangerous neighborhoods in the United States an endlessly entertaining and captivating portrait of a “robbery boy” and crack dealer.
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