Jimmie dreams to reclaim the home his grandfather built in San Francisco. Joined on his quest by his friend Mont, Jimmie searches for belonging in a rapidly changing city. As he struggles to reconnect with his family and reconstruct a community, his hopes blind him to the reality of his situation.
Filmen är ej tillgänglig på MUBI men det finns 30 andra utsökta filmer att välja bland. Se vilka som visas nu
The Last Black Man in San FranciscoRegisserad avJoe Talbot
The film uses slow motion and stylized zooms to create surreal moments contrasting with an on-the-ground immediacy. Impressive as they are, mixing these tones sometimes distracts from the sublime lead performances.
Visually busy and narratively choppy enough to often seem like a string of music videos, truncated and spliced together. It has a hook, but at a certain point it feels like directorial tics are slowing it down and taking the place of dramatic immediacy, which obscures the very real and valuable things it has to say—about black culture and art, and the dilemma of money being treated as the only true claim to a home.
It breaks my heart that this film does not work, on any level: it's painfully earnest, it misses a great opportunity to tackle the decline of San Francisco as a cultural and social hub, it conflates magical realism with lack of narrative cohesion (which Volture's critic rebrands as "fairy-tale hermeticism")... I love Danny Glover, but perhaps Donald Glover would have fared better. Or not. SF is not "Atlanta".
As an Oakland-born San Franciscan with friends on the crew, I got to see this a total of 3 times. While being ornately shot, well-acted, and beautifully scored, I can't quite extract what it amounts to beyond a series of impressions stretched to a feature-length runtime. The caricaturing of supporting characters actually undermines what could have been a nuanced drama about gentrification and displacement.
Joe Talbot's extraordinary debut feature, often looking similar to Pedro Costa's HORSE MONEY and clearly evidence of a general seriousness regarding aesthetics, serves as an archeology, a geology, a thousand-or-so plateaus of a city viewed as its strata. A buddy picture: think Vladimir-Estragon or Rosencrantz-Guildenstern. We repudiate Hegel in noting that History might merely be terribly terminal real estate bubble.
This is a powerful film that transcends the medium to bring the audience a true message about community and above all the people that make up those communities and how a city's identity rests solely on the people who inhabit them. The editing and cinematography are incredible here and add some grace to this film's unique style that borders on documentary like.
I loved indie movies of the 90's and this film spoke in ways that those films did. Like the FLORIDA PROJECT, this is a self-consciously photographed film but this one makes the surface story about real estate and squatter's rights in San Francisco something strange yet terribly personal for our dystopian era through moments of magical realism. The best of independent cinema is demanding for it to be rewarding.