So by now you know we’re in Austin, Texas for the almighty SXSW (South By Southwest, or “South By” for short) film festival (and comedy, music, gaming, plus TONNES of crazy cool conferences and networking for professionals from around the world), and we’ve seen some really cool, high profile movies like A Quiet Place, Blockers, and Ready Player One (which was a secret screening we got into by the skin of our teeth). Did we flip out to watch Ready Player One WITH Steven Spielberg? Of course we did. Did we visit the taco place recommended by Emily Blunt? You bet. But all of those movies will eventually get big theatre releases. They’re not the reason we come to film festivals. We come to festivals to see the little guys, movies that might otherwise get overlooked. In the age of Netflix, our chances of those movies being available to us are actually better than ever, but you need to hear about them in order to look them up, and we take pride in being a part of that process.
That said, Blindspotting isn’t exactly low profile; it played at Sundance earlier this year and audiences and critics came away buzzing. While Sean sat in an incredibly long line for Ready Player One (and that theatre reaching capacity two and a half hours before the screening start time!), I had a much cushier seat inside a theatre, watching a movie that just blew me away.
Written by and starring Daveed Diggs and Rafael Casal, it’s about some very current issues in Oakland California. Collin (Diggs) served a short term in prison and is serving his year of probation, with just 3 days left. Can he survive the next three days without any thing going wrong? The chances of that are increasingly unlikely when, while driving home before curfew one night, a young black man nearly slams into his truck at a deserted intersection. Relieved to have avoided a serious accident, Collin is unprepared for what happens next: a white cop, giving chase, pulls out his gun and shoots the man 4 times in the back, killing him.
So for the next 3 days, Collin suffers the PTSD resulting from witnessing that kind of violence, but in his neighbourhood, you’re not exactly allowed to show fear. In fact, projecting this tough guy image is maybe what got him in trouble in the first place. His best friend in the whole world, Miles (Casal), is always there for him, but he’s also always causing trouble. And though they’re both Oakland natives, born and bred, when the cops show up to break up the trouble, Collin knows that they’re more likely to blame and\or shoot him, the black guy, than Miles, who is white.
This film, directed by Carlos Lopez Estrada, takes an unflinching look at race. They understand that you can’t talk about race without mentioning the environment, which is rapidly gentrifying, or the culture, which is splitting. Everything intersects with class and opportunity and it makes for some complicated themes that the writers have unraveled a bit with hip hop, or spoken word poetry if you will, which is actually how Diggs and Casal met, at a program for at risk youth in Oakland. The script born out of their friendship and shared experience is truly genius, and makes for a movie experience that literally had me pushed back in my seat, gulping in admiration. This movie is a cultural powder keg that the world needs right now; it’s a touch-stone that will be remembered for decades in the future as a film that really spoke not just to its time, but to the people living in it.
But please don’t think for a single minute that this film is some boring piece of art that is merely ‘important’ – it’s also wildly fun to watch, funny and thrilling and bursting with energy. Visually, it’s a love letter of sorts to Oakland. But it’s not the kind of film that pretends to have all the answers. With so many issues raised, all Blindspotting can do is point them out, and trust us to do the rest, which is a kind of self-assurance I don’t expect from a first-time film maker, but there’s a deep well of talent here, one that deserves to be tapped, so I hope I’ve inspired you to seek this one out.