El escritor Thelonious "Monk" Ellison está enfadado porque su última obra no ha calado entre los editores, mientras que un tomo titulado We's Lives in Da Ghetto, de Sintara Golden, llega a l... Leer todoEl escritor Thelonious "Monk" Ellison está enfadado porque su última obra no ha calado entre los editores, mientras que un tomo titulado We's Lives in Da Ghetto, de Sintara Golden, llega a las listas de los libros más vendidos.El escritor Thelonious "Monk" Ellison está enfadado porque su última obra no ha calado entre los editores, mientras que un tomo titulado We's Lives in Da Ghetto, de Sintara Golden, llega a las listas de los libros más vendidos.
- Dirección
- Guión
- Reparto principal
- Ganó 1 premio Óscar
- 64 premios y 174 nominaciones en total
Reseñas destacadas
The only thing that doesn't entirely land is the ending. It's still on point with everything the film has been saying for the past 2 hours and it is gloriously meta but it feels like it comes at the cost of an actually satisfying resolution to the character based drama it's been focusing on. Regardless, it's an interesting swing.
Jeffrey Wright is amazing in an all too rare leading role. It's the constant shock at how gullible everyone is, the glee in writing his parody book (which is visualised in a fun way) and the quieter moments of reflection. It offers further proof of his comedic talents and shows he can command the screen, though that was never in doubt.
With tons of charisma and a restrained sadness, Sterling K. Brown is really good, even if this performance doesn't feel Academy Award worthy. However, that's more of a general complaint with watching films after the nominations are announced since it adds a distracting and unfair disadvantage to any performance nominated.
Cord Jefferson makes an impressive debut with both his screenplay and direction. The writing has so much wit and the direction has the visual staging to back it up for some very clever gags. Laura Karpman's score accomplishes the difficult task of being a constant presence without becoming overbearing thanks to its calm and easygoing nature.
I think it was the domestic drama part of the film that didn't completely work for me. The movie spends a lot of time on all the ways that Jeffrey Wright feels overwhelmed by his life's responsibilities, and it sags in some of these parts, and makes the movie feel a little bit like a slog. And I don't know that I ever completely believed the character played by Sterling K. Brown, who never seemed convincing as a gay man. But I did like what the film had to say about the burden placed on black people to constantly be representing black people everywhere that white people never have to deal with. And I also liked the choose your own adventure ending that takes the film into meta territory in its final scenes.
So, solid double for me, but not a home run.
Grade: A-
This film is an adaptation of the novel Erasure by Percival Everett. The film is a good mix of drama and comedy. One storyline makes fun of how, even though society is becoming more accepting of minorities, it unintentionally marginalizes them by continuing to perpetuate stereotypes. At the same time, another storyline shows an individual struggling with the hardships of life. The film's display of irony makes it an intriguing watch and reflects our current state as a society. This is a great film to watch with friends and discuss afterward.
It's a story of a black writer who is tired of society's tend to stereotypes so he writes a crappy novel with intention of purely just trolling, but people eat it up and it becomes a best seller. I think in a way, the movie itself is like that; it tries to divert away from what you'd typically expect from a black story, that sounds weird... from a story based on black characters lol. It reminded me of "The Photograph (2020)," an okay romance movie (with Issa Rae too) that I liked because of its portrayal of a love story between two Black individuals, where the essence of romance took center stage instead being overly focused on their race or any associated struggles.
Loved how it was directed, the subtle yet not so subtle instances of race even though Thelonious. The social commentary was done really well and did not need to be shoved down your face to be effective. The characters are very easy to get invested in, even the ones that are short lived. I've only seen Jeffery Wright in supporting roles but he really nails his performance as a lead here which was great.
It's a film that balances deep emotions with humor, a difficult feat to achieve. Loved how there's a lot going on without the movie feeling overly crowded. It seamlessly combines satire and social commentary with a compelling family drama, and surprisingly, they harmonize flawlessly. Despite not being fast-paced, the film feels tightly packed, dedicating time to explore both themes thoroughly. Moreover, the quick-witted dialogue adds an extra layer of brilliance. Undoubtedly, this stands out as one of my favorite films of the year. The anticipation I had for it was met, and it truly stands as a unique movie.
Most of the movie is wonderful but the main character's LGBT brother is very likely not needed and was put in there to satisfy an agenda. Ironically... this movie itself is a vehicle for the message while also critiquing it. And at the end of the story it looks like it is going to go with a very Tootsie like ending but they do a few zigs and zags that I wonder if was just to extend the run time.
Overall though, very entertaining.
¿Sabías que...?
- CuriosidadesIn a 2023 interview with Esquire, Cord Jefferson explained his approach to a key scene in the film and how the actors elevated it in unexpected ways: "We've all seen that scene of the writer pounding the keyboard frantically, then taking a big sip of coffee and getting back to it. That's how you depict somebody intensely writing. But I thought, 'We can't have that. It's tropey and silly, and it doesn't get the audience's minds going.' So why not have these characters manifest in front of him? When I wrote that scene, I wrote the language to be very silly. It had to be ridiculous so that everybody could see how stupid this book is and what a sham it is. Then we got Keith David and Okieriete Onaodowan, who are both such tremendous actors. All of the sudden, it wasn't silly anymore. They made it seem like the book might be good. I love what the scene became in their hands: suddenly you're questioning whether or not the book is good, which is evidence that something as ridiculous as this book could become a hit."
- PifiasAt the movie's beginning, Monk walks out of a building while being on the phone and holding a coffee cup with a vertical print of Dunkin Donuts, and with a lid on it. Seconds later, when he gets into a car, the logo on the cup is horizontally printed and it has no lid, while he is still holding the phone to his head with the other hand.
- Citas
Sintara Golden: Potential is what people see when they think what's in front of them isn't good enough.
- ConexionesFeatured in 2024 EE BAFTA Film Awards (2024)
- Banda sonoraWithout You
Written by Aubrey Johnson
Performed by Ace Spectrum
Published by Ace Spec Music
Courtesy of Mojo Music and Media
Selecciones populares
- How long is American Fiction?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Sitio oficial
- Idioma
- Títulos en diferentes países
- Ficción estadounidense
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Recaudación en Estados Unidos y Canadá
- 21.098.470 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 224.469 US$
- 17 dic 2023
- Recaudación en todo el mundo
- 22.483.370 US$
- Duración
- 1h 57min(117 min)
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1