ScreenFish

where faith and film are intertwined

Heather Johnson

The Accidental President: The Elephant in the Room Since 2016

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These days it seems that just about every conversation will work its way around to politics. Whether you’re talking to a beloved family member, long-term friend or Internet stranger, our current political climate has so permeated our day-to-day that most of us don’t even realize what we’re talking about until we abruptly come to the end, unable to contain or respond to the emotions rising to the surface. As an American, I’ve learned to brace myself for it, as I quickly learned during the 2016 election that a sleeping giant of discord was disturbed from its apathy. And we will never be the same. 

How? Why? What? Even now the world continues to ask what exactly went down during the 2016 election. How did one of the most well-known politicians in D.C. lose the Presidential election to one of the most well-known celebrities with no political experience? Why did American media and political experts get it so wrong? What impact remains to be seen as a result of one of the most puzzling elections to-date? 

In his documentary The Accidental President, Director James Fletcher seeks to answer these exact questions. By inviting those closest to both Donald Trump and Hillary Clinton to share first-hand experiences of the events leading up to and directly following the election, Fletcher offers as close to a neutral and balanced view as one would hope into the unpredictable journey that was the 2016 Presidential election.

I had the privilege of speaking with Fletcher as we dove into the divided conversation that is the election and legacy of President Trump, but before you listen to the full interview, I’d like to offer a word of invitation.

No matter what you fall on the political spectrum, I implore you to please watch The Accidental President. The amount of insight and balance that is woven throughout the film is unlike anything else I have watched or read. As someone who works to remain diligent in challenging my own “why” that informs my beliefs, this film provided a safe space for both validation and challenge. Fletcher himself says it best: “Across the board….people feel very strongly about Trump one way or the other – whether you love him or hate him, there is something in this film for you.” And in a time when emotions are often leading our opinions and conversations, I cannot stress the importance of critical and open thinking enough. Confirmation bias doesn’t just exist in our media – it’s everywhere and impacts everyone, even if we don’t realize it.

Through this film, viewers are given an inside look into the experiences of those on the front lines. Kellyanne Conway, Piers Morgan, Jerry Springer, Frank Luntz, Aaron Sorkin, Molly Ball, Steve Schmidt, and Michael D’Antonio are just a few of the witnesses including in this film. And his approach to engaging with each one of them was the same: Fletcher was sure to invite his interviewees to share from their own perspectives.

“I basically say ‘tell us what happened…’ I want to hear from them. I want to hear how they see it – and they can’t be wrong in that. So the viewer could decide if they disagree with any of the interviewees. I’m not telling anyone what to think.”

And with a background in television and then later as a campaign producer in the UK, Fletcher’s experience and familiarity with the political landscape makes him a qualified guide through the disruption that was this election.

I think I can safely say we all were shocked. Long-term politicians, pollsters, journalists, Republicans, Democrats, celebrities, and voters all watched with mouths agape as the events unfolded. The Trump campaign was able to tap into the feeling of invisibility that many voters had lived with. The Clinton campaign went into it overly-confident and failed to make that same emotional connection. With every controversial action or statement from Trump, Republican leaders and political experts repeated “he’s done.” And yet his popularity grew as Clinton’s plummeted.

Being able to go behind the scenes of how this happened has helped reshape my own views regarding the roles we all have to play in politics. To Fletcher’s point, “If a game show host becoming the most powerful person on the planet isn’t worthy of a conversation I’m not sure frankly what is…This is essentially a historical document about the 2016 election, and I think there are lots of lessons to learn for both sides of the aisle.” And no matter my politics, I completely agree. We all have to be able to take a step back and watch something like this. Why? Because our political landscape has irrevocably changed. If we are to navigate it, we have to be willing to listen to the voices that don’t sound like our own. No one – not the media, not our elected officials, not our voters – should be living in an echo chamber. And this documentary is a great place to start.

There is so much more to glean from The Accidental President and my interview with James Fletcher (full audio below). I encourage you to check out the film, which is currently available for purchase on VOD and will be available on Starz later this year.

In the Heights: A Portrait of Dreams, Community, and Identity

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This movie wasn’t for me.

Now don’t get me wrong, I’m not saying that I didn’t love every single moment of it, because I did. I was entranced by the story of this tight-knit Latino community as they navigate their way through life, their struggles, their dreams, and even the brutal New York summer heat. 

I’m not saying that Lin-Manuel Miranda’s lyrics and music weren’t mesmerizing, because they were. After one viewing I was already humming “Piragua” without realizing it and, even though I was watching on my laptop, I still felt as if I was watching it on Broadway (where it originated in 2008). 

I’m not saying that the ensemble cast of Anthony Ramos, Melissa Barrera, Leslie Grace, Jimmy Smits, Corey Hawkins, Olga Merediz, Gregory Diaz IV, Stephanie Beatriz, and Lin-Manuel Miranda wasn’t an effortless performance that transported me into these lives and stories, because it was.

Basically yes, everything about In the Heights was stunning, but it wasn’t made for me. 

The best way I can describe it is if a family member handed me an old love letter from years ago. Intimate and personal but voluntarily shared with me, the offer of this letter would be as if to say “hey, I’m inviting you into this part of my story so that you can witness and understand things that aren’t part of your daily life.” And so I read the letter – not from a position of voyeurism or entitlement – but from a place of respect for the person who placed it in my hand. And when I finish the letter, I look up into the shining eyes of the one who owns it, they smile gently and nod and, for that moment, I am transported into a story that lives and breathes as it is passed down from generation to generation.

It isn’t my story. But oh, how I long to help steward it. 

Most viewers are going to be able to connect with the central theme of fulfilling dreams and destinies. Usnavi (Anthony Ramos) runs a corner bodega, a small convenience store that connects the community of Washington Heights with good coffee and charisma. Longing for the return to his roots in the Dominican Republic, everything Usnavi does is to support that dream – from supporting his young cousin Sonny (Gregory Diaz IV) to caring for the neighborhood grandmother Abuela Claudia (Olga Merediz) – every day moving closer to that realization. But in the midst of pursuing his “El Sueñito” (Little Dream), those closest to him are navigating their own life changes and dreams. Nina (Leslie Grace), the pride of her family, friends, and entire community, has returned from her first year in college lost and homesick. Leaning into her old flame Benny (Corey Hawkins) while arguing with her father Kevin (Jimmy Smits), Nina has to decide where her future lies and what she will do with it. But while she is yearning to stay, aspiring fashion designer (and Usnavi’s crush) Vanessa (Melissa Barrera) is doing everything in her power to move out of town and into high society. Together they all have to work through uncovering not only who they are, but what they are meant to do. 

It is through the cultural strength of Lin-Manuel Miranda’s composition that this story is told, and it is here where I am back to reading that love letter. I can’t fully grasp the pain of being treated as less-than, or the fear that undermines the hope for their future. I don’t understand the language (literally), and I don’t know if my definition of community will ever be as robust as what I witnessed during this film. But I saw it. I heard it. I felt it. And this is where I hand that love letter back, forever changed by its contents and with a small piece of it engraved upon my heart and in my mind. Never to forget the beauty of a story that pulled back the veil just enough for me to see beyond my own view, while still preserving the intimacy between the author and the recipient. And I am grateful.

In the Heights is now streaming on HBO Max and in theaters.

Cruella: When Black and White Turns Grey

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Bold. Complex. Mesmerizing.

And, by far, the best Disney live action yet.

Yes, I am talking about Cruella with Emma Stone and Emma Thompson. Not one who typically flocks to live action Disney features (call me too sentimental for my 90’s animated favorites), this movie blew every expectation out of the water. The tapestry of this story weaves together color, creativity, and character development in such a way that every moment kept me engaged. I’m still sitting here with my mouth agape as I play it all back in my head.

Set against the backdrop of 60’s and 70’s London, young Estella works to be the good girl that her mother encourages her to be. With her uncanny style, unfiltered opinions, and explosive personality, playing nice isn’t exactly second nature to her. But for the sake of the mother she loves, Estella (Emma Stone) navigates both trauma and genius to stay as she is, until Cruella fully emerges from the depths in retaliation of a painful truth. Consumed with taking out her former mentor and now-enemy the Baroness (Emma Thompson – absolutely perfect), Cruella subverts the Baroness’s grip on the London fashion scene with a rock star edge and in-your-face theatrics. With the help of long-time partners in crime, Jasper (Joel Fry) and Horace (Paul Walter Hauser) and a team of nonconforming designers including Artie (John MCrea), Cruella is on the precipice of being unstoppable. But will she survive her own ambition and vengeance?

As an origin story, the set up for the characters and storyline of 101 Dalmatians is well-placed and subtle. Anita and Roger fade in and out just enough to play key roles without overshadowing the heart of this story. We get to the root of Cruella’s obsession with dalmatians, and Jasper and Horace are elevated to relatable characters as opposed to bumbling second-rate thieves.

But this movie has its own heartbeat – one that loves and bleeds – and Stone’s performance is the soul of the film. Her transformation from Estella into Cruella kept me in a state of “is she or isn’t she” the unfeeling villain we’ve seen before now. Against the backdrop of the statement black and white color scheme, there was a grey in-between for me. Behind every villain there is a beginning, and that beginning isn’t always evil. And the other side of that coin is that behind every hero, that beginning isn’t always benign. Morality can get murky depending on a variety of factors and influences, and Cruella really hit that point home.

It’s an exceptional film with layers of development, visualization, ambition, and even heartbreak. And it’s a testament to both the writers and the cast that with every turn I was invested in characters that I’m supposed to define as “bad guys.” Did I close my laptop ready to absolve them of them crimes? No. But did it remind me that our stories are rarely as black and white as we think? Definitely.

Cruella opens in theaters and is available with Disney+ Premier Access on Friday May 28th, 2021.

Street Gang: How We Got to Sesame Street

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I spend a lot of time on the Internet. And if we are being totally transparent, I probably spend TOO much time on the Internet. More often than not I am on it for two main reasons:

  1. To completely disassociate from all that I left undone during the day and somehow seek to take back control of my brain (and life)
  2. Reading random articles about things

The second one tends to focus on the topic of life as a mom: What is this rash my kid has? How long does it take for a teenager to act normal again? What is “too much” screen time and how will it affect my kids? This last one in particular is increasingly relevant, especially in the light of a COVID world where caregivers have been left with few resources for engagement and learning for their children at home. And while I am well aware of the recommendations regarding screen time and that the topic often gets tense, I’m going to shine the light on what I feel like are the most valuable characteristics of devices: accessibility and representation. And for me it all begins on a street – Sesame Street.

Street Gang: How We Got to Sesame Street gives us the history of one of the longest-running children’s shows to-date. From the exploration of using TV as a form of education to the incorporation of what were considered “progressive” topics, Street Gang brings original backstage footage into the forefront with interviews and insight from those who were instrumental in revolutionizing access to education.

Because that was one of the original motivators for the creation of Sesame Street – accessibility. Growing awareness of the socio-economic disparity that minority children faced with regards to educational resources was the springboard for Joan Ganz Cooney and Lloyd Morrisett exploring the possibility of television as an answer. With the launch of Sesame Street, children not only had the opportunity to learn the basics of math and reading, they especially had the opportunity to learn about emotional maturity, and in a way that not only sounded like them, but looked like them too. And while characters like Kermit and Grover and Bert and Ernie didn’t exactly look like real people, children could relate to their stories and questions. Take Oscar the Grouch for example. Writer/composer Christopher Cerf explained, “Oscar the Grouch was created very much to show that somebody with a completely different view than yours could be your friend.” Who knew that an angry puppet in a trashcan could be a tool for dialogue and connection? Sesame Street knew, that’s who. And they kept going.

With the Civil Rights movement sweeping across the nation, the core Sesame Street creators brought a New York city street into every home with a television. They didn’t shy away from hard topics like race and death. They didn’t minimize the experiences of children and created characters like Big Bird that spoke and responded like a young child – regularly asking questions, needing additional explanations, learning about a world where people look and think differently. The goal was to “give kids tools to create the world they wanted to live in,” Sonia Manzano (Maria) shared. Blending the real with the imaginary – people with puppets – Sesame Street became a gateway for children to see themselves in a world that often overlooked them. When they tuned into the show, they weren’t just learning their alphabet and colors, they were witnessing community in the truest sense.

And I’ll be honest. After watching Street Gang: How We Got to Sesame Street, I think as adults, we need to find our way back there.

Street Gang: How We Got to Sesame Street is available on demand.

The Mitchell’s vs The Machines: Family Bonding While the World is Ending

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When we look at our technological abilities, it may not be that far fetched that one day all of the computers and smart assistants and smart home devices will rise up and take over the world.

Or maybe it is. Either way, that is the premise for Netflix’s newest movie The Mitchells vs The Machines, and let me tell you, I am here for it.

Longing to be accepted by her father for who she is and what she loves to do, aspiring filmmaker Katie (voiced by Abbi Jacobson) is ecstatic when she is accepted into film school on the other side of the country. Making a last-ditch effort to reconnect with his daughter, Rick (voided by Danny McBride) cancel’s her flight and packs up the family for a cross-country road trip. Katie’s mom Linda (voiced by Maya Rudolph) is hopeful the trip will resolve the struggle between Katie and Rick, and little brother Aaron (voiced by Writer and Director Michael Rianda) is simply happy to have a few more days with the sister he adores. Rounding out the family is hopelessly cross-eyed and goofy pup Monchi (voiced by Doug the Pug), and the adventure begins.

That’s also when the revolt begins. Without giving too much away, Mark Bowman (voiced by Eric André) of the giant tech corporation PAL is kidnapped by his own creations, and the world descends into chaos as robots round up everyone on the planet. Except the Mitchells. Surprisingly prepared for the apocalypse based on Rick’s insistence on survival training (and everyone having their own Number 3 Robertson Head Screwdriver), the Mitchells continue their trek across the country with a new mission – to save the world.

This hilarious film about family bonding, how we connect with one another (and our technology), and the importance of accepting even when we don’t understand comes from the teams behind The Lego Movie and Spiderman: Into the Spider-Verse. As such, the animation is on point, the dialogue is witty yet poignant, and I left with the same feeling from those other two films: warm and hopeful.

Hopeful that when we embrace what makes us unique, we can achieve anything.

Hopeful that when we set aside our phones and screens, we can truly see the person sitting next to us.

Hopeful that when we find the balance between using technology and being preoccupied by it, we can create amazing tools for good.

Everyone in my house loved this movie (even though clocking in at almost 2 hours did mean some restless kiddos), and I absolutely recommend you check it out this weekend.

Shiva Baby: The Lies We Live

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Life is complicated.

That may seem like the understatement of the year, but hey, when it’s true, it’s true. And we don’t exactly live in a world that embraces us for all the flaws and struggles we have. So we create alternative narratives. We dance around questions like job and relationship status (whether or not they are all appropriate to be asked in the first place is another conversation). We dodge the questioning looks and find a distraction to keep ourselves from having to remember which story goes with which person. We plan escape routes – both mentally and physically – for a variety of situations. And it’s exhausting.

For Danielle (Rachel Sennot) in Shiva Baby, this dance finally gets the best of her during the post-funeral shiva, where she is surrounded and interrogated by nosey distant relatives, and pushed into action by her determined mother Debbie (Polly Draper) and flighty father Joel (Fred Melamed). The stories of her life swirl around: she’s a babysitter working to pay the bills (not so, as she is getting paid for sex). She’s studying for finals (she’s not, as her college status is questionable), she’s preparing for multiple job interviews (she’s not, as she has little idea about her future).

So when ex-love Maya (Molly Gordon, whom I love) walks in, followed by the very (unbeknownst to her) married man she was just with that morning, Max (Danny Deferrari), Danielle is forced to keep up a charade that has been eating away her sense of self and value. The endlessly crying baby that is brought by Max’s wife Kim (Dianna Agron) rings in her ears, pushing her even further into a breakdown.

It is a somewhat overwhelming film that takes place in the span of this one event, with its nonstop conversation and tense atmosphere. The constant angst and raised voices wore at me, but perhaps that was the point. For a film that explores the internal and external battles we face in our families, our jobs, our sexuality, and our past and present relationships, it now makes sense that I felt just as worked up as Danielle. Even the relief we see on her face at the very end was something I shared.

If you’re looking for a film that takes an authentic look into the many ways we strive to meet everyone’s expectations, even to the point of faking it, then Shiva Baby will do just that.

Shiva Baby is available Friday, April 2nd on VOD and Virtual Cinema across Canada.

Kid 90: Remembering Rightly

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I spend too much time on TikTok.

There. I said it. And as someone who is in that weird generational crossover where Gen X meets the Millennials, one of my favorite places to be is 90’s TikTok. So, when I had the chance to review Kid90 from Soleil Moon Frye’s personal recordings of her star-studded life in the 1990s, I jumped on it as House of Pain would have wanted me to. I was looking for a film that would help me relive all of the nostalgia of growing up.

I was completely unprepared for what I got instead.

Sure, within the first few minutes I was transported into the energy and color and music of the 90s. I’m a few years younger than most of the stars appearing in this film, but I still knew them in an instant. And there she was, Soleil Moon Frye, who had embodied this quirky, funny, bouncy attitude as Punky Brewster, smiling and looking as carefree as I had once felt then. But the tone quickly shifted into the reality that was (and is) child stardom in Hollywood, and after a few more clips I realized that this was going to pull back the curtain of nostalgia, and instead reveal some ugly truths.

It would be difficult to quickly summarize just how many of those truths Frye highlights: the partying at night while speaking against drugs during the day; the struggles of this core group of young stars that included Frye, Mark-Paul Gosselaar, Stephen Dorff, Balthazar Getty, Brian Austin Greene, Heather McComb, Danny Boy O’Connor and more; the blurred line between childhood and adulthood; the pressure and pain that often resulted in the suicide of fellow young stars. But if I had to choose the one thing that stood out the most to me was Frye’s search for the truth in her memories. Did it all happen the way she remembered? Were her memories her own?

In order to answer these questions, Frye invited those same stars to speak into her story. Together they reviewed the footage and photographs, reliving the moments of carefree days by the pool or at camp, and grieving the years cut short by the loss of close friends through suicide. Yes, they confirmed, the pressure was real. The fear was real. The search for serenity was real. The love was real.

I was reminded of End of Memory, a book by Protestant theologian Miroslav Volf, in which he tasks all of us with “remembering rightly.” It’s not an easy thing, remembering rightly. Our memories are solely from our own point of view, having been cultivated and revisited for years. Each new experience adds a layer to the earlier ones, and when we sit and reflect on what was, Volf offers that there is a level of objectivity we need to maintain. And while Volf’s central context is one of Christian reconciliation, the concept of remembering rightly is something that, I think, can apply across the board. For me, Kid90 is an example of how important it is to invite others into our memories so that we can see that deeper truth that often lurks behind the nostalgia – both challenging and inspiring us so that we may truly know ourselves.  

Kid 90 is now streaming on Hulu.

Raya and the Last Dragon: Trust Lost. Trust Restored.

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I love The Mandalorian (and all Star Wars).

I love WandaVision (and all Marvel).

I love High School Musical (and all the others).

But my favorite, FAVORITE Disney moments come when Disney goes back to its roots and gives us a good animated classic. And Raya and the Last Dragon should be considered one of Disney’s finest moments in the genre it defined.

Division is no stranger to the world. As far as history takes us, there has been tensions between people, often resulting in feuds, borders, and violence. Our reasons for such behavior are as varied as our humanity itself and, from my vantage point, it’s hard to have hope for authentic reconciliation.

For Raya, there was a moment of that same hope that was quickly destroyed. For 500 years, the once-harmonious people of Kumandra had been fighting amongst themselves in the wake of a monstrous Druun attack. Through the power and sacrifice of the dragons that once lived peacefully with the people of Kumandra, the dark beings were defeated, but the people were left divided, breaking into factions and arguing over who should have the Dragon Gem. Raya and her father, leader of the Heart tribe, are the protectors. During an invitation for peace, Raya befriends Namaari of the Fang tribe, only to learn that peace was never truly an option as the Druun return and terrorize yet again. Years later, Raya continues her quest to find the last dragon, Sisu, who is said to have the power to once again defeat the Druun and bring back those who were lost.

Disney’s 21st century approach to princess movies continues to earn my respect. And while no movie is perfect, Raya and the Last Dragon was pretty close. For starters, the majority of the voice cast are actors and actresses of Asian heritage – fitting considering the context of the film. This is an increasingly important element in movie making, so I am glad to see the intentionality with the casting. Kelly Marie Tran as Raya, Awkwafina as Sisu, Gemma Chan as Namaari, Daniel Dae Kim as Raya’s father Benja, and Benedict Wong and Sandra Oh are incredible together. So, I consider that a pretty solid starting point.

Also, let’s take a minute to appreciate just how pretty this movie is. The technology and craftmanship behind the animation blew me away, down to the stands of hair coming undone in Raya’s braids. With such attention to detail, it was near impossible to look away. The cracks in the sand, the dimension of the water – even the dust floating – all of it painted a realistic-yet-enchanting visual.

Plus there is ZERO LOVE INTEREST and I am here for it. While trying to find the last dragon, find all the pieces of the Dragon Gem, avoid being turned to stone by the Druun, and relentlessly hoping to save her father, Raya flat out does not have time for a relationship. To force something into the story for the sake of it would have ruined this entire film.

Instead, Raya has to learn something else. She has to open her heart back up to people in general. Trusting a stranger led the world to ruin, so to protect herself from ever making the same mistake, she withdraws and keeps everyone she meets along the way at arm’s length. Goodness, how often have we all been broken by someone turning on us after trusting them? And unfortunately, this is often something kids learn at young ages, so they can relate to Raya’s journey in a way that is understandable and relevant to them.

Finally (for the sake of this review), this movie rejuvenated my sense of hope. Reconciliation is straight up hard work. It’s uncomfortable. It requires time and intentionality. It can hurt. But it’s possible. Raya fought the truth that Sisu regularly spoke out of fear that she would be hurt again. But the truth is, yes, we will get hurt again. And we will hurt others. But we don’t stop trying. Peace-making is messy. But man, how beautiful it can be.

Raya and the Last Dragon is now available in select theatres and to rent on Disney+.

The World to Come: Isolation that Binds

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I don’t find it surprising that I’ve watched this film as we hit the year mark of when the world shut down. Suddenly, we all were thrust into immediate isolation within our homes – away from our jobs, families, social circles, etc. – in a time of crisis, fear, and unpredictability. Suddenly, people around us were dying in droves.

Suddenly, our best laid plans were wiped away.

So the relevance of The World to Come is not lost on me. This film about isolation, grief, and the absolutely necessity of human connection is a poignant insight into how we are wired. In a lot of ways, it reminded me of 2012’s post-apocalyptic film The Wall from director Julian Pölsler. From the first-person narrative structured in short bursts to the graininess of the landscape and the sheer sense of desperation from a harsh and unforgiving land, both of these films highlight the lengths we will go through to find meaningful connection. But, in this case, The World to Come takes place in 19th century America when land was plentiful, neighbors were few, and grief was an ever present companion.

I’ve read mixed reviews that tend to focus on the slow pace, the heaviness of Abigail’s (Katherine Waterston) melancholy and hopelessness, the trope of forbidden frontier love, and even “leftist” ideology in the form of this woman and woman romance. And I disagree with all of them.

Isolation is debilitating. Grief is haunting. While Abigail’s and Dyer’s (Casey Affleck) marriage has brief flickers of sun, they are irrevocably changed by the death of their young daughter. And that impact, while it may morph, never goes away. Even when spirited Tallie (Vanessa Kirby) turns Abigail’s mournful world upside down, the longing for the world she lost never disappears. Instead, Tallie’s empathy and affection provides the opportunity to escape across stolen moments, and in each other they fill pieces of the voids buried deep in their souls.

How this film from Mona Fastvold could be anything other than it was is not even a question for me. Every moment felt intentional and thoughtful. Despite the outward brightness and outgoing demeanor of Kirby’s Tallie, I could never take my eyes off Waterston’s Abigail. Her humble posture, internal longing for a shred of hope, and her manner of speaking touched me. It was all heartbreakingly beautiful from start to finish.

Perhaps it is because I am more aware (than ever before) on the importance of connection. Perhaps it is because Abigail’s and Dyer’s young daughter reminded me so much of my own (who is very much healthy and well). Perhaps it is because long ago I experienced a grief that I thought would never fade. Whatever it is, I feel connected to this story. I do not fault Abigail. I do not fault Dyer. I do not fault Tallie. All of them were searching for something elusive and transcendent – something that as whole, they couldn’t quite piece together. But it didn’t stop them from trying. And it shouldn’t stop us, either.

The World to Come is available on VOD on March 2nd, 2021

Sex, Drugs & Bicycles: Wait, You Can Do THAT?

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Before watching this documentary, the most that I knew about the Netherlands involved tulips and the ceramic clogs that my mother and grandmother collected. It’s only been more recently that I’ve even begun to intentionally learn more about countries and lifestyles beyond American soil, so it made sense to me to take a look into this film and see what it could show me about a country so very different than my own.

And I left enlightened. 

Sex, Drugs & Bicycles from Jonathan Blank takes us through a comedic and visually engaging journey in and around the most common (and some of the more obscure) highlights of Dutch infrastructure and lifestyles. From their healthcare, family lives, and work-life balance to the political scene, climate responsibility, and even bike riding, Blank makes sure we see all the color and drama that life in the Netherlands has to offer.

For starters, the filmography matches the vibrant content. In a style I can only describe as “paper-animation-puppet show meets no-holds-barred video,” this documentary is a fun mix of satire and insight presented in a way that kept me completely engaged. It was immediately evident that the Dutch know exactly who they are and why they do what they do. This acceptance of acting as “a salad bowl,” as opposed to “a melting pot,” seems to me to be the primary reason that they are regularly ranked in the top 5 of nations in the areas of healthcare (#3), education (#3), freedom of the press (#3), productivity (#4), and number 1 in happiest children and work-life balance.

But how does all of this actually happen? As an American, most of my education in those areas has told me: “universal healthcare doesn’t work, people take advantage of vacation time, success is dependent on how hard you work, and if people don’t earn it, they don’t deserve it, etc.” (I could go on and on). But the numbers tell a different story. And while I acknowledge that life in the U.S. is vastly different than in the Netherlands, I can’t help but wonder what we are missing out on.

The Netherlands takes the health of their citizens seriously. No one is making money off of the health care system and people have equal access to the services they need including transgender support and sexual health care. With required vacation pay AND vacation time, Dutch citizens are still some of the most productive (and prosperous) people in the world even though they are paid for 13 months and only work 11. This means families actually spend time together, with regular lines of communication between parents and children that last well beyond their challenging teenage years – which is a huge component of why those same kids are ranked as the happiest in the world. And by biking everywhere, the country as a whole seems to have a communal pace that ebbs and flows with the times.

Now this does not mean everything is perfect there, or even feasible everywhere. Racial tension is climbing as more Dutch citizens acknowledge a problematic history regarding the Dutch slave trade. While LGBTQIA rights are taken very seriously and publicly supported, the discrimination is still there. And after previously leading the way in climate change, the Netherlands is now playing catch up after years of laxed policy. Some of those interviewed in the documentary are even concerned that perhaps Dutch leadership is taking the country in the wrong direction. 

Do the Dutch do things that I don’t agree with? Absolutely. I’m not comfortable with their acceptance and promotion of sex work, nor how they approach drug education and experimentation. But I maintained an open mind so that I could at least understand their why, even if I still didn’t agree with their how. To ignore the systems and structures of other countries is to actually do a disservice to my own. There is always something to learn. And Sex, Drugs & Bicycles showed me I have much learning still to do.

Sex, Drugs & Bicycles is available on Friday, February 26th, 2021.