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Writer-director Cord Jefferson’s debut feature, American Fiction, combines satire with family dynamics to fairly charming, if visually uninspiring, effect. Jeffrey Wright’s Thelonius is a novelist forced into a leave of absence from his teaching position, whereupon he returns to Boston and reconnects with his family, from whom he’s distant. He’s also furious that his latest manuscript has been rejected for not being black enough, and that what “black enough” means involves every negative stereotype of black people and culture imaginable. But when he sarcastically writes such a novel to shove society’s attitude in its face, it’s taken seriously by the white literary elite, who shower it with praise.
From the trailer, Mike was expecting more focus on the satire, and more energy à la Boots Riley’s Sorry to Bother You. It’s a surprise, then, that American Fiction spends so much time developing the family drama, but not an unpleasant one, and José finds that aspect the film’s most interesting. We consider the idea that the film uses the family story to practice what it preaches, offering a story about black people that doesn’t require them to be black in order to justify its existence – it’s a universal story about distanced siblings, a mother with failing health, and broken marriages. And we discuss the film’s ending, or lack thereof, in which the inescapability of the culture that demands stereotype is emphasised at the expense of a satisfying, earned conclusion to the story we’ve been told.
American Fiction doesn’t create a single artful image, and that ending is disappointing, but the film is also interesting, absorbing, and funny. Worth a look.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.
Eavesdropping at the Movies 