It’s an intriguing mystery, one with plenty of surprises in the search and astute observations about growing up online when you’re not a dominant member of the patriarchal system that sets the guidelines for the experience. Told with savvy computer screen graphics akin to the technology from the Searching movies and the progress of youthful perspective, Jones’ debut feature takes her and fellow computer culture enthusiast Olivia McKayla Ross on a journey to discover more about the woman whose likeness was first used as Beacon in the computer game and its marketing. Rather than just sit with that knowledge, Jones makes it her mission to find the Black woman behind the image that inspired her as a child with the fascinating Seeking Mavis Beacon. However, the tough realization for many is that Beacon does not exist, merely an avatar for a computer program. For filmmaker Jazmin Renée Jones, it was her gateway into representative possibility, a chance to see someone she admired that looked like her and gave her vital wisdom. Mavis Beacon lingers in many millennial and Gen Z memories as the kindly woman who taught us how to type on the computer. Most similar documentaries don’t reach these heights, but Porter’s dutiful care and effort to honor Vandross with a film fitting his stature makes the difference.Ĭourtesy of Sundance Institute. While the documenatary wisely resists speculation about his sexualiy to respect the privacy of his life he established while he was alive, you still feel like you get the full portrait of the man and his music. The film also touches on the tragic coverage of Vandross’ struggles with his weight, giving the late musician the grace to tell his side of the story through past interviews while contextualizing and admonishing the harm that media did to cover his image throughout his career. The editing is perhaps the film’s unsung hero, as it glides effortlessly between the there and now. If you’re not familiar with just how Vandross came to be, learning how he played such a vital role in so many musical moments of multiple decades is made all the more interesting with the way Porter cuts together the talking heads and the archival footage. Not all musicians as talented as Vandross always get the documentaries that match their contributions, but Luther: Never Too Much meets the legend right where he stood to deliver something as thrilling and lasting as one of Vandross’ best songs.ĭawn Porter’s homage to Vandross’ career has definite hagiographical intent, but it backs that focus with rapturous footage of the musician’s process and performance and a keen understanding of just how much of a forerunner he was in modern R&B. Luther Vandross was a titan of his field, one of R&B’s most gifted voices who prided himself in lavish presentation and sonic progression. For the way Donaldson frames Sam, at the very least the kids will be alright.Ĭourtesy of Sundance Institute | photo by Matthew Rolston. Good One is a striking debut that understands the difficult passage from youth to adulthood, fraught with malevolence and disappointment. We can all seek refuge from our struggles, whether it be with a hike in nature or a quick glance at our phone once we get service, but sometimes, we’re all we’ve got when those we expect to hold us up reveal their flaws. You might wonder where Good One is going until it’s impossible to question the film’s stark intent, but the way Donaldson frames the camping trip in question and the dynamics at play between its three participants helps hammer in the eventual shock of its third act. The young actor is more than up to the task. Part of coming of age means coming to terms with the flaws of your parents and the world their generation helped build, and Donaldson gives Collias a very open script to explore Sam’s emotions as she learns hard lessons from her father and his friend about the kind of world she’s about take a bigger role in once she leaves for college. Like Reichardt and Granik before her, Donaldson already shows an impressive knack for studying human nature in actual nature, using our routines in the great outdoors as open canvas for reflection and revelation.ĭonaldson’s film takes its time to build the journey for the camping trio of teenage Sam (an exceptional Lily Collias), her caring-if-clueless father Chris (James Le Gros, living into the complexities of the parent who just doesn’t understand) and Chris’ laid-back actor friend Matt (Danny McCarthy, finding just the right mix of obnoxious and amiable). Comparisons to Kelly Reichardt and Debra Granik will be very understandable for India Donaldson’s debut feature Good One.
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