As a gamer who has spent countless hours immersed in virtual worlds and narratives, I find Titus Kaphar’s Exhibiting Forgiveness to be a gripping and poignant exploration of the human condition that resonates deeply with my experiences. The film masterfully captures the struggle between the past and present, a conflict I have often encountered as I navigate through the digital realms and confront the demons of my own past.
Isn’t it odd how we continue our daily lives amidst the ruins of the past? We’re constantly juggling financial, social, and personal responsibilities, but the ghosts of yesterday’s traumas linger in our thoughts. It’s as if we’re living on the edge of a psychological crater while expected to maintain normalcy. This peculiar paradox can leave one feeling disoriented. Each person copes with this reality and their trauma in their own unique way. Notably, renowned artist Titus Kaphar has frequently employed paint strokes and art installations to examine the connection between the past and present. Now, he’s ventured into filmmaking with his debut movie, “Exhibiting Forgiveness“, to further investigate this theme.
Artist Tarrell (André Holland) is living a blissful life, with his career flourishing in the art scene. More importantly, he shares a deep bond with his wife Aisha (Andra Day) and son Jermaine (Daniel Michael Barriere). However, Tarrell’s past was marred by constant turmoil due to his father, La’Ron (John Earl Jelks). During a time when Tarrell’s family is assisting his mother Joyce (Aunjanue Ellis-Taylor) with her relocation, La’Ron unexpectedly returns.
This man, after struggling with addiction for decades, has now sobered up and become a devoted Christian. He wants to patch things up with Tarrell and finally be a devoted father. To say Tarrell is not enthusiastic about this idea is an understatement. He has a seething contempt for La’Ron that hasn’t eased over the intervening decades. At night, Tarrell experiences horrific PTSD-informed nightmares rehashing his tortured domestic life from years ago. Joyce insists that Tarrell follows the words of The Bible and forgives his father. Kaphar’s Exhibiting Forgiveness screenplay is all about Tarrell’s quandary over how to handle La’Ron. What kind of future can they have after this unspeakable past?
In the artwork titled “Exhibiting Forgiveness “, Kaphar includes a prolonged sequence of flashbacks detailing a particularly distressing day between La’Ron and his adolescent friend Tarrell. While Tarrell’s poignant dialogue implies that La’Ron physically abused him, this aspect is not explicitly shown in the artwork. Instead, this journey into the past highlights negligence and La’Ron’s toxic perspective. This neglect is demonstrated through La’Ron’s unconcerned reaction to his son stepping on a rusty nail and insistence that Tarrell never reveal any sign of vulnerability. The oppressive environment and, more specifically, the racial disparities faced by Black Americans have taken a heavy toll on La’Ron. After enduring so much suffering, he fails to inspire hope for a brighter future in Tarrell. Instead, he perpetuates a cycle of psychological suffering.
Kaphar skillfully presents a captivating peek into history that’s filled with thoughtfulness and artistic finesse when it comes to balance. We catch glimpses of La’Ron’s inner world, yet the scene maintains its realistic feel without being overly dramatic. The dialogue is carefully controlled, avoiding didactic explanations, which keeps the emotions authentic while providing valuable insights. This flashback primarily explores two contrasting individuals in conflict, mirroring the personal focus of Exhibiting Forgiveness. Without a doubt, this production’s most powerful moments zero in on the intense interactions between these two very different characters.
This scene, in particular, features La’Ron and Tarrell meeting after many years apart. Within a cellar, with Tarrell recording his father’s testimony, they try to reconcile their differences to help Joyce. The sequence is captivating primarily due to the powerful performances of both actors. John Earl Jelks, for instance, delivers an outstanding portrayal of La’Ron’s seemingly carefree demeanor as he recounts some of the most distressing events in his past. His casual retelling of how his father once threatened them both with a gun is particularly striking. The way Jelks tells this story, especially his final line “your grandfather had flaws,” creates a complex emotion in the audience, blending anger and sadness.
How can it be that this man appears so unfazed by violence, whether he endured it himself or inflicted it upon those close to him? The calm demeanor and delivery of Jenks, however, also hint at how distressingly ordinary such abuse was in La’Ron’s life. These actions were rarely viewed as urgent causes for concern during his youth. It seems strange that he would express such shock today about them, doesn’t it? Yet, Jelks skillfully portrays these complex dimensions throughout this scene. The character played by Holland is equally compelling, offering a deeply emotional performance alongside Jelks. With subtle facial expressions like furrowing his brow or adjusting the tone of his voice, Holland powerfully conveys decades of suppressed trauma when interacting with his on-screen father.
Holland’s always been a tremendously compelling leading man, anyone who witnessed his gripping High Flying Bird performance knows this. It’s so great to see him get a vehicle like Exhibiting Forgiveness to demonstrate his chops yet again. Holland especially excels at portraying deeply conflicted emotions in his interactions with Aunjanue Ellis-Taylor. Terrell has so much love for his mom, yet unasked questions about her relationship with La’Ron plague his heart. This rapport, so molded by silenced queries, is beautifully and realistically captured by Holland.
Demonstrating Forgiveness primarily shines as an effective acting exercise and a remarkably impactful one at that. While its cinematography and imagery aren’t quite as striking, some visual elements (such as Tarrell’s canvases echoing his internal turmoil) could have benefited from more vibrant characterization. However, artists like costume designer Deirdra Elizabeth Govan or production designer Olivia Peebles stood out due to their openness to incorporate bold colors into a heavy narrative backdrop. Many contemporary filmmakers (Zack Snyder, Simon Kinberg, McG, post-2019 Russo Brothers films, etc.) tend to immerse their movies in grey and muted color schemes, believing that these visual aspects instantly give motion pictures a sense of realism and dramatic intensity.
Despite the occurrence of traumatic events, everyday life is marked by clear blue skies, vividly colored houses, and bright clothing. The concept of ‘Exhibiting Forgiveness’ mirrors this truth in a striking way. For example, Terrell uses yellow paint for his significant art display. A crucial discussion between Terrell and Joyce unfolds against a bold red backdrop. The poignant memory involving La’Ron and Terrell transpires on a radiant sunny day. Trauma persists even when the weather is clear and bright. Titus Kaphar’s artistic approach preserves this reality, enhancing the authentic impact of ‘Exhibiting Forgiveness’.
Read More
Sorry. No data so far.
2024-10-22 16:15