Exhibiting Forgiveness 2024

Exhibiting-Forgiveness-2024
Exhibiting Forgiveness 2024

Visual artist Titus Kaphar has made his transition from a creative artist to the screenwriter of his first feature “Exhibiting Forgiveness”. Kaphar’s scope of work painting involves of multiple panels hanging off other panels or canvases being cut in parts. These layers and omissions are always meant to serve as accentuating different facets of blackness be they universal or even subversive. Kaphar’s paintings are incorporated in the film “Exhibiting Forgiveness” and also have the ambition of exploring the same issues inter-generational torment and father-son relationships in particular.

Tarrell (André Holland) is a painter who has just returned from a successful art show. He dotes on his agent and then goes on to boast about his work through embellishments of the art agencies postcards. With a new baby son, Jermaine (Daniel Michael Barriere) and a loving yet ambitious wife Aisha (Andra Day), who also put her singing career on hold for him, Tarrell has anxiety to start again.

For Aisha, preparing for a show is strenuous, time-consuming work that, among other things, robs him of time to spend with his son – something that he considers to be a very critical part of his life as a man.

When his distant father La’Ron (John Earl Jelks) decides to pay him an uncalled for visit at his mother’s (Aunjanue Ellis-Taylor) house, Tarrell is forced to face issues he would have otherwise buried long ago. Considering that La’Ron was abusing him and was having drug addiction problems, Joyce, who is a veteran of the church, is confused and wants Tarrell and his father to become closer. She believes that once God bears witness to La’Ron turning a new leaf, he will be the father Tarrell always wanted to be. However, Tarrell has suppressed many dark memories of his youth that now inspire him to be a father which renders him unable to move on since letting go of the past hurts would enable him to forgive La’Ron.

Exhibiting Forgiveness” is a picture that will allow one to connect and gasp their breath in awe. What has been captured by cinematographer Lachlan Milne (‘Minari’) does not disappoint. It is possible to sense a connection to Kaphar’s paintings through his film as well as in the directing of the film and the composition that highlights the work of Gordon Parks in the film’s splendid compositions.

The film’s depiction is equally love-filled, allowing us to take in soulful performances that elevate the film “Exhibiting Forgiveness” with long camera shots and close up shots as well.

Holland and Jelks are a team that tears through the screen. The script written by Kaphar is built on the numerous exchanges that occur within the span of the entire movie. They tend to border on melodrama at times but Andrew and Jelk manage to convey this as raw emotion.

It is in the eyes of Jelk where La’Ron’s guilt, love and pride taking them to the new level of redemption are manifested, and how he is desperately attempting to conceal them. Holland made such a powerful impact with his role in ‘Moonlight’ that it chills me to see him get wasted in leading roles this often, often calls up Tarrell with body language, which performance wise, is enough, as well as his silent pain and pain filled expressiveness. Holland can be found striking a nigh perfect balance, as Tarrell’s anxious pacing and fidgeting seem to be the little boy in him who wants to remain hidden and away from the world. Jay balances these intermingling personas rather effortlessly with a quiet yet firm performance.

While Tarrell and La’Ron witness oppression, Kaphar engages them in his work concentrating on the men’s relationship but still adding some rough intra-community struggles that show the lives of Black fathers and sons.

His story allows for the possibility that all previous generations are gnarled in one way or another through Black history and no one came through without damage or unlearning certain beliefs. Meanwhile, as Joyce or La’Ron accomodate Tarrell by emphasising on God and the importance of the Bible in forgiving others, Kaphar vehemently rips apart the concept of forgiveness for merely forgiving’s sake. It is essential for its narration that “Exhibiting Forgiveness” is able to empathize with La’Ron even as it has little sympathy in forgiving him. It is Tarrel’s his film which regards love and believes that some things are unbearable to erase. Kaphar’s film expands its duration, there are many scenes that are so good that people are bound to replay them even when full. But still so great that the film remains effective as it entrusts all its actors with the task of such delicate execution of its ideas.

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