Toronto — In today’s world, where representation and diversity often overshadow quality, filmmakers often choose to create films that simply conform to societal expectations. These films check all the boxes of inclusion and cater to pre-existing cultural issues, ultimately becoming the lowest common denominator. Not only does the white establishment (including the Academy of Motion Picture Arts and Sciences) honor these films, but they also receive praise from audiences who eagerly consume them. This boosts box office sales and generates discussions on social media.
Enter Cord Jefferson, writer-director of “American Fiction.” His new film, which premiered at the Toronto International Film Festival, is a smart, self-aware satire that criticizes how mainstream media perpetuates racial stereotypes in storytelling, particularly when it comes to Black characters. However, in its attempt to critique these stereotypical portrayals, the film itself falls into the trap of becoming soulless entertainment that appeals primarily to white audiences. It lacks the punch, thoughtfulness, and innovation that discerning viewers seek.
If you’re familiar with films like Robert Townsend’s “Hollywood Shuffle,” Michael R. Jackson’s “A Strange Loop,” or Spike Lee’s “Bamboozled,” you’ll recognize the conversation that “American Fiction” tries to engage in. However, even these works, including the imperfect “The Other Black Girl,” offer more depth than “American Fiction” ultimately achieves. They tackle the complexities of Blackness with well-developed characters.
“American Fiction” is a mishmash of mildly intriguing and conflicting ideas, with storylines that go in every direction. Issa Rae portrays a highly successful author whose new book, “We’s Lives in Da Ghetto,” capitalizes on racial stereotypes and is widely embraced by the masses.
Based on Percival Everett’s 2001 novel “Erasure,” the movie centers on Thelonius “Monk” Ellison (the reliably talented Jeffrey Wright), an English professor and struggling author who is frustrated with white liberalism and contemporary notions of what constitutes great Black art. During a sparsely attended author panel for his meticulously researched new book, Monk learns of Sintara Golden’s (Issa Rae) novel, “We’s Lives in Da Ghetto,” which is causing a stir at a nearby, packed event. Monk is taken aback when Sintara reads a passage from her book using a ludicrous “Blaccent,” and yet the racially diverse audience applauds. During this scene, the audience watching “American Fiction” at its Toronto premiere erupted in laughter. The film effectively uses “funny because it’s true” jokes to highlight the tone-deafness of mainstream media and consumers who mistakenly believe that the more stereotypes a work of fiction contains, the more authentic it is to the Black experience. The film also satirizes book publishers who sign trope-filled works in response to the demand for diversity, biased literary awards committees, authors like Sintara who push their own agenda, and readers who buy into it all. “American Fiction” expertly presents these critiques in an entertaining manner because the reality is just as absurd as its portrayal.
To his credit, Jefferson occasionally employs creative techniques to illustrate his points. Early in the film, when Monk is discouraged by the disappointing market landscape, he writes a draft of a new book that caters to popular demand: a story set in the hood, complete with a Black man brandishing a gun at his father. In a surreal twist, this draft of Monk’s book comes to life as actors (one played by Keith David) reenact the scene in Monk’s office while he types away on his computer. The father character starts exhibiting alcoholic tendencies and David’s character challenges the portrayal. Monk responds by deleting that version and David starts again. This comical portrayal allows the actors, especially Wright, to shine and adds a surreal and cleverly satirical element reminiscent of Hulu’s “Woke.” Monk sends this preposterous draft to his publisher, and of course, it is eagerly embraced by the masses, rendering his previous work irrelevant. To drum up even more interest from the white media, he pretends to be a fugitive on the run, forcing him to grapple with an identity crisis. It’s in these moments that Jefferson’s talent for delving into the surrealist nature of racism shines through. However, despite his insightful voice as a creative, Jefferson’s inexperience as a first-time feature director is apparent in “American Fiction.”
In the press notes for “American Fiction,” Jefferson states, “I made this movie for everyone tired of these lazy, monotonous stories — especially the generations of Black artists who have too often been tasked with rendering rote suffering, to the neglect of their countless other abilities.” While this sentiment is commendable, the film itself fails to go beyond that statement. It falls short in its exploration of characters who are grappling with their own Blackness, particularly Monk. Jefferson adds, “I wanted to make an honest film that speaks to both the universality of being marginalized by the world and the unique individuality that animates every person on earth.” Unfortunately, “American Fiction” misses opportunities to confront Monk’s own shortcomings as a Black man with racial hangups. Relationships in the film, such as the one between Monk and his girlfriend Coraline (Erika Alexander), lack the depth needed to challenge Monk’s beliefs. As the storytelling in “American Fiction” unfolds, Monk’s success with the caricatures he creates and becomes forces him to engage in self-reflection. He is an intellectually driven individual who has distanced himself from his roots in the Boston area and changed his name, all while being romantically involved with white women in failed relationships. These aspects hint at a character at odds with his Blackness, but the film doesn’t fully explore this aspect of Monk’s identity. While Monk serves as the protagonist, it’s difficult to determine whether viewers should root for him or even care about him, as Jefferson presents him more as a flawed symbol for discussion rather than a fully fleshed-out human being. Monk’s journey, while theoretically interesting, feels incomplete, and his debates become less compelling as the film progresses. For instance, when Monk confronts Sintara about the stereotypes she perpetuates in her book, her defense that every version of Blackness deserves a platform falls flat. This interaction reveals the film’s struggle to effectively examine issues of race and class. Missed opportunities to challenge Monk’s perspective and delve deeper into his character render “American Fiction” ultimately unsatisfying.
In summary, while “American Fiction” offers moments of clever satire and insight into the surreal nature of racism, it lacks the depth, character development, and thoughtfulness needed to make it truly impactful. Jefferson’s vision and voice as a filmmaker are evident, but his inexperience results in an incomplete exploration of the film’s themes and characters. The film serves as a reminder of the need for diverse, complex storytelling that goes beyond surface-level critiques.
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