FThis year, Sundance's film will begin with the same depressive but vibrant film about San Francisco's last character, a gloomy city. Despite being inspired by real stories, Joe Talbot guides us into the lush, stylish and often surreal realm when we meet two best friends Jimmie and Mont who are being pushed back by an increasingly white population.
In an exciting gambling, Jimmie played the first actor Jimmie Fails loosely caressed and led the concept of the film with his friendship with Talbot. Jimmie is still struggling to lose his childhood home built by his grandfather in the 1940's, and it may be painful to see the despair following his owner without money, but with the same attachment he does. When the house falls asleep due to legal issues, Jimmie uses the opportunity to speak his arguments and take a challenging stance.
From the kickstarter campaign to the features produced by Brad Pitt, the camera's behind story is as inspiring as the previous one, and San Francisco's last black is not real. It's a lovingly crafted visual poem that picks out idealism for cynicism and prevents understandable anger in films focused on sexually transmitted diseases. Reminiscent of Be Kind Rewind, where there is a loss but hope and sometimes the film is much less manic. In order to mourn and bring back the sense of community, the film is also led by a desperate character (the two films also feature Danny Glover, who plays the blind of Mont.
Playing a virtual virtual edition using an unprofessional actor is a brave gambling but inexperienced, but Fails is an attractive, natural being and adds an emotional antagonism, given its attachment to the nature of the city and the story. He also played with the rising star Jonathan Majors as he last saw in White Boy Rick. Mont helps sensitive writers also beat their hearts. The major boasts of his sincerity, which expresses far more than his conversation. It is uncommon for male friendships to appear on the screen with total indifference to such intimacy and sexuality, but no character is interested in romance or sex other than allies. But no matter how impressive both performances are, their figures are carved thin, especially Mont, which feels more like an indie film tick collection than a real person.
The Talbot's orientation is also a similar problem, adding weight. His technical skills are remarkably achieved for the first filmmaker with impressive and artful images that carefully capture San Francisco's splendid beauty from those who have a clear love for the city. But there's a cruel twist of twist that makes the film feel overly intentional and overly restyled. There are great sequences and moments (those associated with the heavily insufficient Tichina Arnold are highlights). The plot is loose and squeaky, often played in the rules and logic of children's films, especially the last unpleasant action. The more Talbot invests in the framework of fantasy, the harder it is to invest, and the amazing heartbreaking scores of the new immigrant Emile Mosseri often have to perform most emotional lifting.
It's a tangled and unconvincing movie that truly admires both the city and friendship, and you can appreciate the serious look that underlies it when the cuteness surrounding it collapses. Under the artefacts, reality and mind impressed. I hope more will shine.