Dead Colour

The Handsome Moustache Producers nailed the noir aesthetic whilst still letting their own flavour be present through the comic-book-style character titles. Which, rather than feeling like an avoidance or departure from the genre really breathed individuality into a heat with many black and white detective films. So great job on creating an identity which stands out!
Though, I must say, a music beat or impact sound would have REALLY enhanced those title cards. The silence felt quite uncomfortable to me.

Changing the aspect ratio to indicate flashbacks was also inspired (even if at one point the timing doesn't quite line up with the edited footage).

My big critique is that the film's energy is very mellow. I LOVE HMP's entry from last year. And the best part about that is the non-stop momentum and chaos; something which even the most slickly edited films often don't achieve (honestly, I wish my film this year would have had some more of that RED RAIN punch).
This is likely due to the genre pushing you to tell a slower, more thoughtful film but I say fedora-wearing investigators can and should be frantic and unhinged!

This is a film of deliberate contrast. Contrast through selective use of colour. Contrast of genre tropes. Contrast of different time periods through the striking use of different aspect ratios. Contrast through different video filters. Visual contrast even in black and white. This film forces you to think – about time, about art, about foreshadowing and destiny.

I loved the title cards. I loved the intense sequence at the end.

Maybe it could be fun to work out some kind of dolly, steadicam, or gimbal so you can reduce camera shake of fast-moving action shots in future films? At one point there was a distracting discontinuity in the music, but I guess it's impossible to find music that perfectly fits your edit when the clock is ticking to hand your film in.

Oh, and I loved the use of the Christchurch urban landscape!