In his feature film directorial and screenwriting debut, artist Titus Kaphar has confidently created a semi-autobiographical work that deserves a wider audience than it has received. This powerful, unsentimental 2024 film tenderly explores a familiar movie trope, a father-son estrangement, but through an unflinching lens of toxic masculinity, familial rage, and generational trauma. A stellar quartet of accomplished actors fully embodies the often painful story of Tarrell, a burgeoning artist whose father La'Ron, a recovering crack addict, re-enters his life at the behest of his endearing, religious mother Mama Joyce. While Tarrell pushes Joyce to pack her house and move closer to his own family of three, she remains steadfast in realizing a reconciliation that proves devastating for all involved. Still memorable as Kevin in "Moonlight", Andre Holland is riveting as Tarrell as he manages to convey fierce resentment and anger with palpable currents of loss and exhaustion. John Earl Jelks maintains potent gravitas as La'Ron desperate to be forgiven for his past sins, and Andra Day plays Tarrell's musician wife Aisha with economic precision. It's no surprise to me that Aunjanue Ellis-Taylor ("Nickel Boys") handily dominates the film with her gut wrenching performance as Mama Joyce. Special mention should be given to Ian Foreman's heartbreaking turn as young Tarrell in the painful flashback scenes. There are a few flaws. While the details of past traumas are unpeeled effectively, they add marginally less to the story as they function more as reference points. Also, some of Kaphar's dialogue is too on-the-nose to be fully resonant. Regardless, the commitment of the superb cast takes this film to the next level.
