I was chomping at the bit waiting for Prison Valley to come out. No doubt about it, Arte France and Upian went to great lengths to build up the suspense for this one. While the infuriating “Coming Soon” flashed across the Web site for months on end, the incessant tweets and posts made it clear that what was to come was going to be huge. The second it was released, I rushed to my computer to finally savour the latest opus from Upian and co-producers Davis Dufresne and Philippe Brault.

So . . . was it everything I had hoped for? A resounding YES! tempered by a teensy (no).

Before I get into my analysis of Prison Valley however, I would like to discuss their marketing strategy. Firstly, to my knowledge, this was the first time there was so much hype around a Web documentary before it was even launched—hype not unlike, in its mechanics, the pomp and circumstance usually reserved for major Hollywood premieres: a few pictures leaked here and there, interviews with the directors, tweets about production, a high-profile release, etc. Prison Valley ushered in a new era for Web documentaries—one in which they no longer have to be ashamed of their format. They are no longer small amateur productions whose reception is uncertain, quite the opposite in fact: Prison Valley is a feature production in its own right—mature and deserving of every bit of attention it gets. As much so as Michael Moore’s latest work. And for that reason alone, I’m betting that Prison Valley will carve a place in the history of Web documentaries.

Prison Valley is about Fremont County, Colorado—or more precisely, the tiny city of Cañon City, which has become the prison town of America. We learn how, over the years, this small, godforsaken place emerged as the hub of an unfathomable industry with the enthusiastic approbation from every level of the American government. The writers reveal—in interview after interview, image after image—all the by-products of this cocktail—the visceral need for security, isolation, disproportionate sentences, prisoner exploitation, cheap labour, and a brazen pursuit of profit that borders on slavery—a combination that would be lethal anywhere else. Prison Valley leaves you with a feeling of injustice and painful powerlessness.

Prison Valley is first and foremost a magnificent documentary—visually impeccable and visibly well-documented—that tells the poignant tale of a small city and all its afflictions. A very traditional documentary divided into different sets of themed stories and enhanced with informative extras. Contrary to Gaza Sderot, I found Prison Valley to be more akin to an online CD-ROM than a Web documentary. That’s my only complaint—but I feel it is a valid one.

Gaza Sderot—also produced by Upian—had the brilliant premise of inviting viewers to assume the role of writers so that, in the end—depending on the viewer’s personal interests and sensibilities—the story was different each time. Prison Valley takes a different approach: viewers are transported linearly from start to finish through the documentary narrative chosen by the authors. It’s not a criticism, just an observation. You get the sense that Prison Valley could make the Web-to-TV transition much more easily than Gaza Sderot could have in its day. We just miss Gaza Sderot’s online creativity.

My advice: Go watch Prison Valley and judge for yourself. It’s well worth it. And then, while you’re at it, check out Gaza Sderot too.

You should also read the Prison Valley blog to get a better understanding of the blood, sweat, and tears that went into this magnificent masterpiece.