An improvised Eugene O’Neill ensemble barfly riff wrapped in the construct of a seemingly fly-on-the-wall documentary about the last day at an off-Strip Las Vegas bar, “Bloody Nose, Empty Pockets” pushes the envelope of nonfiction filmmaking in an exciting, immersive, and transporting way. The frame of the movie is intentional, the supposed regulars are the result of a casting process, the dialogue improvised, and it was primarily shot in New Orleans. But Bill and Turner Ross (“Western,” “Contemporary Color“) make virtues out of those concessions to dramatization and skillfully tease out some truths about improvised communities as well as the highlights and limitations of such alcohol-fueled connections.
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