The current state of entertainment is one of the most talked about topics by all types of people. And in the end, we are all looking for a series, movie, book, or any resource that takes us away from overwhelming routines. There are those who consider that we are in a stage marked by political correctness and not exactly by good stories, but some also point out the diversity of ideas and thoughts as something that can lead to new times of glory. Between both extremes is American fiction (American Fiction), Cord Jefferson’s first film that also offers an interesting commentary on true inclusion.
After a brief incident with a group of students, writer and professor Thelonius “Monk” Ellison is suspended as a teacher. Due to that and other personal situations, he feels annoyed with the world around him. With critics it is a success, but in bookstores everyone forgets it, so he decides to implement a plan: write, under a pseudonym, “Fuck”. This book is full of clichés about the black community (to which it belongs), and with it, its intention is to highlight the hypocrisy of the publishing world. But everything gets complicated when his job becomes a tremendous success and he has to face the consequences.
Based on the novel Erasure, by Percival Everett, Cord Jefferson (also screenwriter) achieves a brutally intelligent script. It’s true that many plot points are taken directly from the novel published two decades ago, but Jefferson makes them fit in a great way. As the minutes pass, everything becomes an increasingly biting, intelligent and addictive disaster. The snowball created by Monk grows with each lie. And although in its context it may be devastating, for viewers it is a true delight.
Something to highlight is the lightness with which the topics are approached. Although we are facing a satire of current society and the hypocrisy that some use regarding inclusion and representation, everything is finely outlined. Fortunately, the script never falls into what it criticizes. And it also doesn’t become a pamphlet of what can be right or wrong within inclusion in modern entertainment. Jefferson made the best decision regarding the topic: to present it openly, destroying more than one industry, and motivating the viewer to take a stand.
Definitely, American fiction It is one of those films that cannot be seen without its protagonist. It’s not that Jeffrey Wright is the only valuable thing in it, but his performance gives it a higher level. He can be a rebellious teacher, a man extremely frustrated with the work world in which he develops, and the son or brother who does everything for his family (both blood and chosen). Even when he needs to be unintentionally funny, Wright proves that this is the role of a lifetime for him.
Along with him, a fun Sterling K. Brown stands out as Cliff, Monk’s brother who hides more than one secret. Said character is, in many ways, totally opposite to the protagonist. And it is precisely those differences that lead them to share moments that are both fun and endearing. They both grew up with more than one brand, but each reacted in the way their emotional stability allowed. It is remarkable how in more than one scene both can take the viewer from laughter to reflection.
Additionally, there are three women essential to Monk’s life. Agnes, his mother and who represents a tough personal test; Sintara Golden, a black writer who receives the attention he believes he deserves, and Coraline, in charge of a titanic task: putting his feet on the ground through her love. Leslie Uggams, Issa Rae and Erika Alexander fulfill, respectively, each of these tasks and provide a solid response to Wright.
Despite its low budget and the little visual ambition it could have, American fiction It also stands out for its workmanship. Photography by Cristina Dunlap (Cha Cha Real Smooth) is tremendously elegant and delights us with some great landscapes and shots that speak even more than the characters. The music of Laura Karpman (The Marvels), although discreet, it also enhances some moments and is striking.
But if a technical element should be exalted, it is the editing, especially during its last minutes. When the fictional narrative created by Monk reaches its loudest point, there are several moments where the editing does its thing and plays with the emotions of the spectators. You will understand when you see it. The third act is perfectly chaotic and makes the film close on a very high point. All without leaving aside that intelligent and meta comedy that is so appreciated.
In a time where inclusion and representation generate so much comment and discussion, American fiction It comes as an important example that transcendent topics can be touched upon, with responsibility, intelligence, and even humor. The brilliant execution of her script, and Jeffrey Wright in all his splendor, suggest that, in a less competitive year, this would have been the top Oscar winner. Or at least an important rival.
Perhaps not many things will change after this brilliant and twisted exercise. But at least it leaves its viewers with a question whose answer can be revealing: Do the contents that we currently enjoy come to us due to true merits or due to the hypocrisy of some hidden forces?
Juan Jose Cruz I am one of those who always defended Robert Pattinson as Batman and can see the same movie in the cinema up to 7 times. My guilty taste? Low-budget horror films.