First-tier documentarian Errol Morris finds himself slumming a bit with Tabloid, a clear departure from his recent tendency toward rigorous, serious-as-a-tumor inquiry. He describes it as “sick, sad and funny.” His attention has somehow been drawn to Joyce McKinney, a former Wyoming beauty queen who fell in love with Kirk Anderson, a young Mormon from Utah. Anderson’s family (and the church) disapproved of the relationship. Anderson left the states to work as a missionary in Britain, and McKinney eventually followed him there. That much, at least, is not in doubt. What happened next is open to some question.
Neither especially well-crafted nor completely inept, Death of a Snowman is less interesting as a film than as an artifact. You might hope that a low-budget crime drama shot in and around Johannesburg, South Africa, during the apartheid years would deal explicitly with political conditions in the segregated country. Instead — perhaps because of government censorship or fears of political reprisals — Death of a Snowman has only the whiff of racial tension about it, as whites and blacks doubt, disbelieve and double-cross one another from start to finish.