ScreenFish

where faith and film are intertwined

coming-of-age

1982 – Love and War

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Oualid Mouaness’s 1982 is a story about fear and courage, love and war, innocence and maturity. The film is Lebanon’s official submission for Best International Film consideration.

For fifth grade student Wissam (Mohamad Dalli) the end of year exams aren’t a problem; he’s a top student. What he is worried about is if he will be able to tell classmate Joanna that he loves her. He doesn’t understand the import of what is going on in the world—that Israel has invaded his country.

His teacher, Yasmine (Nadine Labaki) is fully aware of the dangerous times. Her brother is going south to fight with the Christian militia. She has an ailing father. She is in the middle of the political conflict that is represented by her brother on one side and her fellow teacher and boyfriend on the other. As the school day goes on, the contrails and sound of planes are a constant reminder of what’s happening. In time the sound of explosions rumble in the distance, then nearer. Plumes of smoke rise out of Beirut where the students live. Dogfights happen in the sky above.

The story moves back and forth between Wassim’s attempts to get the courage to talk to Joanna and the adults in the story trying to deal with their own worries and at the same time keep calm in the classrooms. It makes for a useful contrast between the innocence of childhood and the dangers and troubles of the adult world. But in time, the film wants us to understand that relationships—and love—are a key to being resilient in the times of trouble.

The childhood storyline is really the more compelling one. As he talks with his friend about his desire to make himself known to Joanna, and Joanna talks to her friend about who could have left the anonymous note in her locker, the sense of the power of childhood love is very clear. It is at once both scary and something we crave. It is a reminder that even in the midst of terrible and fearful events love has the power to transform us. It has the power to save us. For Wassim, we see that power come forth in the end with a bit of magical realism to save not just his love for Joanna, but his city.

The film triggers in me a touch of a contrast between scriptures. The Apostle Paul wrote, “When I was a child, I spoke as a child, I thought as a child, and I reasoned as a child; when I became an adult, I put an end to childish ways.” That thought fits well with the adults in this story as they must deal with the realities of the war drawing close. But there is also the story, “[Jesus] called a child, whom he put among them, and said, ‘Truly I tell you, unless you change and become like children, you will never enter the kingdom of heaven.”  1982 captures both of those perspectives. And it calls us live in the light of both.

1982 is available on VOD and via virtual cinema through local arthouses.

Photos courtesy of Utopia.

Uncle Frank – The Person You Decide to Be

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Family can be a place of pain or a place of healing. It can be the place we try to escape from or the place we need to return to. It is where we hear words that are like a knife in the heart or like the warmth of a hug. In Alan Ball’s Uncle Frank, it is all of those things.

The story is told from the perspective of Beth (Sophia Lillis), in high school when we first meet her. But the focus is really her Uncle Frank (Paul Bettany). During one of his rare visits to their southern family, Beth is fascinated by Frank and how different he is from the rest of the family. He lives in New York City where he teaches. Beth has no idea why her grandfather (Frank’s father) is so rude to him. When Beth talks with Frank he tells her, “You get to be the person you decide to be or the person everyone else tells you you are. You get to choose.” That conversation changes her life.

(L-R) Sophia Lillis and Paul Bettany star in UNCLE FRANK Photo: Brownie Harris Courtesy of Amazon Studios

Beth heads off to New York for college. When she crashes a party at Frank’s apartment, she discovers that he’s gay and has a long-time partner, Walid (Peter Macdissi). When Frank gets a call to tell him his father died suddenly, he and Beth drive down to South Carolina for the funeral. Frank doesn’t want Walid to come because he doesn’t want his family to know he’s gay. Walid, knowing that Frank will need his support, rents a car and follows them. In time the three of them are on a road trip.

As Frank talks with Beth on the trip, he recalls his youth and the discovery of being gay. It was young love, but it also carried a great deal of condemnation from church and home. After the death of his first love, Frank has carried guilt and shame all these years, even though outwardly he seems comfortable with his life (at least while he is in New York). But when his father’s will surprisingly and cruelly outs him, his emotional turmoil overwhelms him.

SOPHIA LILLIS, PAUL BETTANY and PETER MACDISSI star in UNCLE FRANK

It all goes back to that conversation between Frank and Beth about choosing who you will be. In New York, Frank is the person he has “decided to be”, but does not live that out when he comes home. His father has always looked at him with shame and loathing—that is what society says Frank should feel. When at home, that is who he becomes. That serves as a kind of demonstration of the way pride and shame often play out for LGBTQ people. They may go to gay pride events, but remain closeted to the people closest to them.

(L-R) Lois Smith and Margo Martindale star in UNCLE FRANK Photo: Brownie Harris Courtesy of Amazon Studios

However, Frank may be surprised by how his family responds to his sudden outing. The revelation may be hard for them, but these are people who have loved him his whole life. They may not be able to put that into words well, but it comes through clearly. There is a nice supporting cast that makes up this family, including Margo Martindale and Stephen Root as Frank’s parents, Steve Zahn as Frank’s brother and Beth’s father, Judy Greer as Beth’s mother, and Lois Smith as Frank’s Aunt Butch. While not everyone is welcoming to this news about Frank, there is grace that comes out in various ways.

Uncle Frank is available on Amazon Prime.

Photos courtesy of Amazon Studios.

Cuties – Growing Up Fast

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Yes, Maïmouna Doucouré’s Cuties (Mignonnes) has created a great deal of controversy. I wouldn’t categorize that controversy as a tempest in a teapot, because the film does revolve around the sexualization of young women, but in a reflective and critical manner, not in an exploitive or abusive manner. In fact, the film suggests an outrage about this just as strong as the Twitterverse’s demands of boycott. The film, however, addresses the issue by asking us to empathize with the young characters, rather than turning away and ignoring what is happening.

Amy (Fathia Youssouf) is a Somalian immigrant living with her mother and two brothers in a poor section of Paris. They are observant Muslims, going to the women’s service at the mosque, hearing how evil it is for women to bare their bodies. Her father has returned to Somalia with plans to bring home a second wife. The planning for the wedding falls to Amy’s mother and the family matriarch. Amy is expected to participate, even though she feels abandoned and rejected.

 New in her middle school, she is attracted to a group of girls (Médina El Aidi-Azouni, Esther Gohourou, Ilanah Cami-Goursolas, and Myriam Hamma) who want to win a hip-hop dance contest. Amy begins to work her way into the group, and eventually begins dancing with them. Yes, the dances are mildly suggestive, but as Amy and the others begin to see other more risqué dancing videos online, Amy instigates making their dances even more so. When they begin posting their videos on social media, the affirmations are intoxicating. Here, Amy finds the kind of attention she misses at home.

Cuties is a painful coming-of-age story. At home, Amy has learned that in her world women are disposable. Even though she and her mother will still be in the home with her father and new wife, it is obvious that they are not enough. They are being relegated to second-class status. The worlds of the mosque, home, and society are acutely at odds.

A large part of that conflict involves the meaning of being a woman. At home Amy gets two lessons on womanhood. The first is when she has her first period, she is told she’s now a woman. The other lesson is when the matriarch tells her that the way to become a woman is to prepare the food for her father’s upcoming wedding. But society has many ways of teaching that women are sexualized, and the way to get approval and love is through that route. It is a lesson that young girls see often.

There are parts of this film that are hard to watch. The increasingly sexualized dancing is the film’s way of rubbing our noses in a culture that may not officially promote that behavior in children, but certainly is willing to tolerate it, possible even think it’s cute that they want to be so grown up. When Amy gets approval and affirmation along the way, she wants more. Eventually she will push too far.

It is also hard to watch the way Amy must deal with a life at home that will never be fulfilling. The place of women in her ethnic world is belittling. We don’t want that world for her any more than we do the sexualized world she is entering.

The film is about a world in which children (especially girls) are encouraged in many ways to grow up to fast. What “to grow up” means varies within cultures and societies. But adolescence is always a challenge for these children who face challenges of identity and belonging. Can we really expect eleven year olds to make the proper choices when faced with so many voices and images? The film serves as a strong reminder that left to their own choices, calamity is near at hand.

Finally, I want to address the widespread denunciation of the film by those who haven’t seen it. It’s my understanding that what created the controversy was an ill-advised publicity poster used by Netflix (which Netflix later apologized for and admitted was inappropriate). Certainly that poster gave an impression of the film that would suggest it would be offensive. But often posters (or even trailers) do not capture the reality of a film. The way the condemnation of the film went viral suggests that we live in a world in which people don’t want to make their own decision, but will just pass on what people who yell the loudest have to say. Cuties is actually a very clear indictment of a society that sexualizes children. That is the voice that needs to be heard.

Photo courtesy of Netflix.

The Tobacconist – Becoming an Adult

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“We’re not in this world to find answers, but to ask qestions.”

Nikolaus Leytner’s The Tobacconist is a tale of looking for love, finding wisdom, and becoming an adult. As with many coming-of-age films there is movement from innocence to facing harsh realities. How one faces such realities has major consequences.

The film opens with 17 year-old Franz (Simon Monzé) sitting on the bottom of a lake. When he sees lightning flashing, he surfaces and runs home through the forest, past his mother and her lover having sex against a tree. Franz climbs into bed to hide. His mother’s lover decides to take a dip in the lake and is struck by lightning and dies. (A bit Oedipal?) His mother sends Franz off to Vienna to apprentice with Otto (Johannes Krisch), her former lover who runs a tobacco shop.

Otto, who lost a leg in World War I, is cynical, especially now that the Nazis have occupied Austria. Otto’s shop is welcoming to all, even Jews and Communists. (Although Otto is somewhat cold to a Nazi customer.) Otto begins to teach Franz about business, and dealing with people. The first lesson is that the shop is more than a place of business, it is a “temple of pleasure and spirit”. He also begins to help the naïve Franz see what is happening in the world around him.

One of the customers in the shop is Sigmund Freud (Bruno Ganz). When Franz asks the renown psychologist about love and women, Freud admits to being as confused about that as Franz. But he tells Franz you don’t have to understand water before you jump in to a lake. So Franz heads off to meet a girl and chooses Anezka (Emma Drougunova), a beautiful Bohemian who is a bit older and experienced. When she abandons him after a fun evening, he tracks her down to discover she lives in squalor and is a fan dancer. He tries to kindle a relationship, but it never quite takes off.

Meanwhile, the Nazi are beginning to crack down. Everyone is faced with choices to make for how they will survive. Otto is arrested. Freud’s family wants him to emigrate to London. Franz wants to have Anezka run away with him to some place peaceful. Suddenly Franz must take on maturity. But what will that mean? And what will it cost him?

An interesting part of this film, in light of Sigmund Freud being one of the key characters, is possible psychological images: begin underwater, dead animals, a spider that lives in the tobacco shop, and Franz’s many dreams, which Freud encourages him to write down. It might make for an interesting project to watch the film with Freud’s The Interpretation of Dreams at hand. But in this film Freud never psychoanalyses Franz or his problems. Rather he serves, along with Otto, as a mentor to a young man who must grow up quickly.

The film tracks Franz’s growing maturity in a variety or ways. One subtle way is through clothing. For the first part of the film, Franz is always wearing short pants or knickers. After Otto’s arrest, when he must now run the shop himself, he begins to wear trousers. But the real coming-of-age moment is when Franz has taken Freud a gift of Havana cigars, Freud shares one with Franz who has not smoked prior to this. In that scene, Freud recognizes Franz as an adult, and perhaps Franz recognizes that for the first time.

As Franz makes his journey from naïveté to maturity, he grows through the wisdom imparted by his two mentors: Otto and Freud. Wisdom is something valued in scripture. But it is never seen as an easy path. In Proverbs, we are reminded that many follow after the siren call of Folly. In Ecclesiastes, the biblical cynic philosopher calls his search for wisdom “an unhappy business that God has given to human beings to be busy with.” In his time in Otto’s “temple of pleasure and spirit” Franz learns many new things. Through the words and actions of his two mentors, Franz begins to see that he must put away the childish part of his life. The world needs him to be involved and to act properly and courageously.

The Tobacconist is available on Virtual Cinema through local art houses.

Photos courtesy of Menemsha Films

House of Hummingbird – The Trials of 8th Grade

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“It takes some time to learn to like yourself.”

Bora Kim’s semi-autobiographical coming-of-age drama House of Hummingbird takes us inside the struggle of a middle school girl as she keeps looking for something in her life that will bring emotional nurture and fulfilment.

Eighth grader Eun-hee (Ji-hu Park) is seen by many of her classmates as a bit slow and doomed to a life serving them. What joy she finds is in drawing comics. Her older brother is abusive. Her older sister a bad role model. Her mother struggles with chronic pain. Her father is demanding. There is little nurture to be found at home. Even when Eun-hee finds a lump under her ear, she must deal with the doctors herself. She makes an occasional friend, both male and female, and even has some tentative romantic experiences. But her friends seem to go off with others, leaving her alone.

Her life brightens when she meets Yong-ji (Sae-Byeok Kim), her new Chinese tutor. Yong-ji is young and pretty. And she smokes! But what really makes Yong-ji special is that she notices Eun-hee. She is willing to talk with her and listen to her. She treats her as a real person. These interactions give Eun-hee a glimpse of what she may become. Yong-ji gives Eun-hee bits of insight that could help her as she struggles to find her place in life.

The film is set in 1994, and from time to time key news stories mark the passing of time. First the beginning of the World Cup, then the death of North Korean leader Kim Il-Sung, and eventually the catastrophic collapse of the Seongsu Bridge that left 32 people dead—and is a pivotal point in the film. There is a sense that Korea as a whole is going through transitions, just as Eun-hee is facing constant change in her life.

Eun-hee is at an interesting coming-of-age point. There is something about the uncertainty and insecurities of eighth grade that makes it especially conducive to such examinations. One might compare the 2018 American film Eighth Grade. Although the American film was told with much more comedy, both films reflect the difficulty of that age. Eun-hee captures a bit of that difficulty when she ponders “When will my life start to shine?”

Such feelings are not limited to fourteen year-olds. Coming-of-age films, such as House of Hummingbird, aren’t just about looking at how difficult growing up can be; they offer us a chance to reflect on our own issues of facing a world that is filled with abuse, abandonment, and grief. Perhaps the key to happiness is, as with hummingbirds, constantly searching for the sweetness that may come our way.

House of Hummingbird is available on Virtual Cinema through local theaters.

Photos courtesy of Well Go USA

Hala – Between Two Worlds

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Hala is the story of a young woman caught between two world—her parents’ and the culture she has grown up in. It is a stereotypical coming-of-age story with the additional conflict of having to live by additional rules that grow out of her parents’ values. But it also turns into not just about her yearning for freedom, but also about what it means to be a woman in a male dominated society.

Hala (Geraldine Viswanathan) is a Muslim high school student with Pakistani immigrant parents. Although she wears a hijab and covers her body, even in PE, she is very much a typical American teenager. She rides a skateboard. She is awakening sexually, but not sure what it means. She is good in school.

But her relationship with her parents is uneven. She is fairly close with her father (Azad Khan), but constantly in conflict with her mother (Purbi Joshi). Part of the tension derives from her father’s assimilation into American life (he’s a lawyer). He and Hala converse in English. The mother, although she understands English, always speak in Urdu. So when Hala and her mother speak it is clear that they are from different cultures. Her mother is trying to make sure she is brought up properly. Her father’s only concern is that she is staying away from boys.

Of course, she has been crushing on Jesse (Jack Kilmer), a boy at school and the skateboard park. As their relationship grows, Hala keeps it secret, sneaking out to meet him. One day with Jesse, she sees her father and discovers his secret, which devastates her opinion of him. Her sexual awakening grows, but not in satisfactory ways.

When an issue arises with a teacher (Hala’s fault) and her parents are called to school, the conflict escalates within the household. It is now her mother who gives voice to Hala’s needs, while her father has become the adversary. In time Hala must find a synthesis that will allow her to remain faithful to her religious values, but also experience the freedom that American society offers. The film’s final scene gives us an idea that she is beginning to find a blend of the two cultures which will be more acceptable to her.

Director Minhal Baig steers the viewer in how to understand what is going one, at times a bit heavy-handedly. When we see Hala in school, it is in her English class where they are given an assignment to write an essay featuring a point of view. (That concept comes up a few other times in the film.) This film is clearly from Hala’s point of view. We don’t get the perspective of her parents, or of the teacher involved, or even Jesse. It is all focused on Hala’s needs, desires, and decisions. That is, of course, what makes for a coming-of-age story. That singular point of view is appropriate for that age, but it also makes the story a bit more shallow than it could be.

The more explicit way we are instructed how to read this film is by Hala’s identification with Nora in Ibsen’s A Doll’s House, which she is assigned to read in school. The lack of freedom for women that Ibsen described in that play continues to be felt by many today, especially in some ethnic/religious settings. We could easily see Hala as an updated reimaging of Ibsen’s work.

One aspect of the perspective of this film that should be noted is that it seems to assume a superiority of American culture over the cultural values her parents bring with them. We know all through the film that this is about Hala’s struggle for freedom—especially freedom as it is seen in our culture. Perhaps there is (or is not) a superiority to our culture. But the presentation of her parents’ cultural values seems a bit dismissive, as if we will naturally see it as wrong-headed and backwards. Perhaps the real answer for Hala is not to win her freedom, but to find the best of all the values to incorporate into her life.

Philophobia: Stepping into the Future

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Set in the rolling hills of the English countryside, Guy Davies’ Philophobia is a picture of small-town adolescence. With only one more week of high school remaining, Kai (Joshua Glenister), an aspiring writer, and his friends are both excited and terrified about what lies ahead. As the clock ticks down on their school experience, the teens must wrestle with their awaked sexual desires and new battles with power in ways that may leave them all changed forever.

Written and directed by Guy Davies, Philophobia is an interesting coming-of-age film that balances the realities and fantasies of adolescence. As one of the key moments in the lives of every teen, Philophobia shows much of the angst, confusion and fear associated with the end of high school. Engaging performances from its cast of youth serve as a window into the heart of an age where teens are caught between the life they have known and the life they have not yet discovered. What’s more, by telling the story primarily through the mind of Kai, Davies allows himself the freedom to move back and forth between the situations that every teen faces and the images and dreams that they harbour in their minds. What’s more, stemming from his own personal experience, Davies’ film also captures the contradictory nature of small-town life by highlighting its intimate nature but also its suffocating environment. As such, the film wisely maintains a small scope with huge implications on the horizon.

For Kai, the biggest questions involve the future but not only for his career and future job opportunities. By emphasizing the gap between youth and adults, Philophobia effectively underscores the difficulties of growing up when young people are lacking in mentors. With few strong male role models in his life, Kai’s heart questions the very nature of masculinity. Yearning for the (literal) girl next door and bullied by her boyfriend, Kai wonders what it means to be a man. Caught between youth and adulthood, he wrestles with issues of power, sexuality and simply balancing fun and responsibility. As he navigates these difficult questions, few adults seem to understand—or are even interested in—his journey, despite his obvious search for role models. (This also is shown through Davies’ recurring motif of a mysterious stag that mysteriously appears in the distance during moments where Kai needs guidance.) 

Due to this sort of emotional neglect, Kai and his friends are left adrift in a sea of confusion to discover for themselves who they want to be. As a result, there remains an intrinsic sadness within this coming-of-age tale that speaks to what happens when adults lose sight of the seriousness of the challenges of youth and cease to listen to their issues. To these adults, love and patience give way to telling them to ‘follow the rules’ and, in the process, the youth become further alienated. (To be fair, there is at least one male teacher who cares about Kai’s future and well-being, even if his encouragement is fleeting at best.)

Philophobia may mean the fear of falling in love but, in the end, the film demonstrates most clearly the fear of stepping into the future. Torn between teen and adulthood, Kai and his friends wonder what life has in store for them and what it means to lean into the unknown. However, without caring support from adults who have experienced this transition themselves, this moment in time can be much more difficult.

To hear audio of our interview with writer/director Guy Davies, click here.

Philophobia debuted last night at Heartland International Film Festival and will also screen at the San Diego Film Festival on Thursday, October 17th, 2019.

Before You Know It: Growing Up is Hard to Do

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Before You Know It tells the story of Rachel (Hannah Pearl Utt) and Jackie (Jen Tullock), two dysfunctional co-dependent sisters who live above a theatre in New York. Tasked with caring for their aging father (Mandy Patinkin), the two women are shocked to discover that Sherrell (Judith Light), the mother they thought had died when they were young, is alive and starring on a popular daytime soap opera. Emboldened with questions as to where she has been all of their lives, the two women set out on a quest to meet their mother and begin a relationship with her.

Starring and directed by Hannah Pearl Utt, Before You Know It is a charming coming of age comedy that examines the responsibilities of parent-child relationships. While the film works through several heavier topics ranging from grief to puberty, it does so with a light touch, allowing the comedic talents of its cast to come to the forefront. Veteran actors Judith Light and Mandy Patinkin are given suitable material for their talents, yet it’s the relationship between the two sisters that drives the story forward. As Rachel and Jackie, Utt and Taylor have a solid rapport as two sisters with very different outlooks on life. Despite having no children of her own, Rachel takes on the role of caregiver for the family while Jackie lives her life more freely, even though she is the mother of pre-teen Dodge (Oona Yaffe). 

By highlighting the parent-child relationship, Before You Know It shows the dangers of inadvertently mirroring our own damaged upbringing. For example, while Rachel and Jackie mourn the loss of their father and wonder why they were abandoned as children, Jackie fails to realize that she too is missing key moments in her own daughter’s life. In other words, though they blame their mother for missing their childhood, neither woman is there for young Dodge as she is attempting to navigate puberty and her own questions about becoming a woman. While it’s hard to judge their behaviour based on the revelation of their long-lost mother, their self-absorption also begins to lay the groundwork to repeat similar behaviour that they despised so much growing up as well. In doing so, Before You Know Itdemonstrates that ‘coming of age’ can happen at any time, regardless of one’s stage of life. As Dodge is growing into a young woman, so too must Rachel and Jackie finally step out and take responsibility for their own lives as well. (In fact, this journey also mirrors that of Sherrell, who must face down her own past and grow into the role of responsible parent as well.)

Fun and light-hearted in its approach, Before You Know It is an enjoyable look at what it means to become an adult. Taking on double duty as director and star, Utt proves herself an interesting talent both in front of and behind the camera, creating a story filled with grace and humanity.

Before You Know It opens in select theatres on Friday, September 20, 2019. 

The Hate U Give – Discovering a Self and a Voice

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In Hamlet, Polonius tells his son Laertes, “This above all: to thine own self be true, and it must follow, as day the night, thou canst not be false to any man.” In The Hate U Give, a young African-American girl must struggle not just with being true to herself, but with which of her personae is her true self.

Starr Carter (Amandla Stenberg) lives in two worlds. Her parents, Maverick (Russell Hornsby) and Lisa (Regina Hall), have opted to live in Garden Heights, a working-class black neighborhood, even though they could afford to live in a more upscale area. Mav and Lisa are from Garden Heights and want to be part of the community there. In Garden Heights, Starr Version One fits in perfectly. She speaks the slang and wears the right shoes. She knows the people there. They are her people.

Amandla Stenberg stars in Twentieth Century Fox’s THE HATE U GIVE. Photo Credit: Erika Doss.

But Mav and Lisa want more for Starr and her brothers, Seven (Lamar Johnson) and Sekani (TJ Wright), so they send them to a predominantly white prep school across town. At school, Starr Version Two also fits in. She leaves the slang behind. (Her friends use it to sound cool; she would just sound “hood.”) Her best friends at school, including her boyfriend, are all white. Every day she goes back and forth between these worlds, but she is two very different people in each.

L-R: Megan Lawless, Amandla Stenberg, and Sabrina Carpenter in Twentieth Century Fox’s THE HATE U GIVE. Photo Credit: Erika Doss.

When she goes to a party in the Heights one night, a fight breaks out and her childhood friend Khalil helps her escape the violence as they drive off in his car. When Khalil is pulled over by a police officer, the traffic stop escalates into a confrontation that ends up with Khalil being shot and killed. Starr is the only witness. How that role plays out in her two separate worlds forces her to come to grips with who she is and how she must act.

Starr struggles under the weight of her responsibility. Many want her to testify against the officer to bring justice for Khalil’s death. But there are others who want her to stay silent, including King (Anthony Mackie), head of the neighborhood gang (to which Mav once belonged). King does not want anything to come out about Khalil dealing drugs for him. At school, Starr doesn’t want it known that she is the witness because of what her friends might think. She also encounters those there who side with the police officer, assuming nothing was wrong with the killing.

Amandla Stenberg and Algee Smith in Twentieth Century Fox’s THE HATE U GIVE. Photo Credit: Erika Doss.

How can Starr be true to herself (and her family, her friendship with Khalil, her community, and the concept of justice) when she has not yet learned who she really is?

Identity is a key concept in this film. Starr and her brothers have names that their parents gave to them for specific reasons that reflect who they are to become. The film also shows how shoes can be a part of one’s identity. What shoes someone wears may speak loudly to those around them. It may seem like a minor bit of life, but within the context of the film, one is what one wears. For Starr, her growing sense of justice and seeking her voice means she must come to terms with all the ways her identity has been fragmented. It is of note that in the voice over we hear of Starr’s testimony to the grand jury, we do not hear about what happened but about who Khalil was to her. To share Khalil’s identity is key for her.

The film opens with Mav and Lisa giving “The Talk” to nine year old Starr and her brothers. They try to explain the injustice they will inevitably encounter. They teach them how to behave when stopped by police in hopes of staying alive. Then Mav gives them the Black Panthers’ Ten Point Plan and demands that they memorize it. “Know your rights. Know your worth”, he tells them. There is something bordering on the sacred in these moments. To be sure, it lays out a very scary reality, but it is also clearly an act of love and nurture.

Amandla Stenberg stars in Twentieth Century Fox’s THE HATE U GIVE. Photo Credit: Erika Doss.

That tone of near sacredness recurs often throughout the film, often in small ways, such as when Starr looks through her box of childhood memories, and at time in more profound ways, as when Starr addresses the crowd at a protest. It is a reminder of the many times in lives that we encounter the sacred, not because we are looking for the presence of God, but because the divine in always close at hand.

It would be an oversimplification to call this a Black Lives Matter film, although it most certainly fits that description. But it is also a far deeper examination of not only African-American identity, but of the importance of finding oneself in order to know one’s place in the world and how that fulfills what one is meant to do with their life. Starr has been shaped by many competing forces including the systemic racism of society. In this film she begins to come into her own—to find her voice and her future.

Available now on 4K, Blu-ray, DVD, and Digital HD, the film comes with several special features: “Maverick and Seven Protecting Their Home,” “Uprising,” “Seven’s Graduation” extended scenes; “Starr: Shine Your Light,” “Starting a Conversation,” “The Talk,” “Code Switching,” “The Heart of Georgia,” and “Thank U Georgia” featurettes; “and audio commentary with director Tillman with select cast and crew.

Photos courtesy of Twentieth Century Fox

All These Small Moments

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All These Small Moments (2018)

What moments shape you?

In this coming of age tale, we see a snippet of the daily struggles of Howie (Brendan Meyer). Howie is simultaneously navigating his parent’s rocky relationship, infatuation with an unknown girl he sees on the bus, and another girl who is infatuated with him.

We get a good indication of Howie’s family dynamic early on in this film when he comes to the breakfast table dressed in a freshly dry-cleaned shirt. Howie has a cursing outburst and instead of reprimanding him, his mother, Carla (Molly Ringwald) only harps on the fact that he got his shirt dry-cleaned while trying not to laugh at him.

In my opinion the stand-outs in this film were the two female supporting actors, Jemima Kirke and Harley Quinn Smith. Not only did I feel that their characters were the most intriguing of the cast, but their executions were impressive. The important stories to be told in this film were theirs. In fact, the stories behind all of the different women in this film are quite interesting.

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Odessa (Jemima Kirke) is a beautiful young woman who gives off an intriguing and mysterious air, drawing Howie in. He instantly wants to be part of whatever it is that Odessa is part of. But behind closed doors, Odessa is trying to cope with the end of a relationship. Perhaps Odessa begins hanging around with Howie because she appreciates the positive attention he gives her and that she may be missing from her past relationship.

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Lindsay (Harley Quinn Smith) is an awkward teen struggling to bounce back from a spiraling rumor and the effects of a scarring situation. She desperately tries to get Howie’s attention while he is completely distracted by thoughts of Odessa.

Howie’s mother, Carla, is very distracted in her daily life and seems partially removed from her children as she struggles with her marriage falling apart. She is trying to find herself again as an individual. It’s sad to see her struggle during this difficult time, yet more sad to see her sons get so little from her. And so little from their father for that matter.

This film took an awkward turn for me during a scene when Howie and his friends were sitting around watching females exercise on television. The camera hops from boy to boy as they not-so-discreetly touch themselves while watching. I’m not positive why this was necessary, but I wonder if perhaps it speaks to the different types of relationships that some young men have with different women in their lives. Objectification of women seems to often be a fairly common milestone in the male evolution.

The main women in Howie’s life, Lindsay, Odessa, and Carla, are all in very different stages of their lives but all have broken hearts for different reasons. It’s intriguing to see them navigate these hurdles, but even more fascinating to see the effect that these three women have on Howie. How are these influences going to shape Howie as he continues to grow into a man?