American Fiction is an engaging piece of work that walks a tightrope to get to its destination. If it falls from that tightrope, it could land for people as something of a toothless satire lugging around Oscar bait-y elements of familial conflict and generational trauma. Or it could land as an overly cynical rejection of progressive discourse that is disinterested in providing a remedy and merely sneering at society. Luckily, I think Cord Jefferson’s intent will ultimately work on audiences, even if you have to reflect on how the movie’s two distinct halves are in conversation with each other.
Jeffrey Wright earns his accolades in portraying Theolonius “Monk” Ellison, a writer wielding his aversion to identity politics like a shield that protects him from having to interrogate his origins and his place in the world. Jefferson’s screenplay creates several laugh-out-loud moments when Monk observes the racist cynicism of the publishing industry and attempts to create something vile out of spite.
The key to my enjoyment of the movie was my belief that even the things we participate ironically are imbued with our talents and have something to say about ourselves. So there’s a great scene in the movie where Monk is writing a send-up of something like “Push” by Sapphire and inadvertently ends up writing a reflection of his relationship with his deceased father as well as lifting the floorboards on a universal structure.
Sterling K. Brown is possibly the acting MVP here, as he has to both deliver some great jokes, while also producing the dialogue that will help unlock this entire movie. Closeted and yet still rejected by his father, Sterling’s Cliff Ellison has to come to terms with being accepted for who he is. In a very important gesture by someone close to him and Monk, he comes to understand what is actually plaguing himself and Monk.
American Fiction is not just a send-up of modern racism in the publishing and film industry. It’s ultimately a hopeful story, but one that is honest about the fact that you don’t just magically earn a catharsis when you originate from spite, envy, and malice. Your mileage will vary on whether the team manages to balance the family story with the industry satire to your satisfaction, but as far as a directorial debut, it’s refreshing work and one that I would be happy to see win best adapted screenplay.
(Also, “Plantation Annihilation” is making fun of all of us who praised “Django Unchained”)
