by Shane Conto, Staff Writer
Generational trauma can manifest itself in many ways. For an artist, it can mold the creative process from the start. When it comes to a painter named Tarrell (André Holland), he must process the abuse and coldness of his father, La’Ron (John Earl Jelks), who’s back in Tarrell’s life. A lot of baggage comes into play when it comes to different kinds of abuse. These are elements of childhood that are incredibly hard to shake. In Exhibiting Forgiveness,writer/director Titus Kaphar attempts to navigate this challenge and how it manifests in the life of an artist, a husband, and a father.
How is Kaphar able to leverage his own artistic tendencies and abilities to tell Tarrell’s story? First off, this is such a gorgeous film. The camerawork is dynamic, framing life in a poignant way. Each frame is pregnant with feeling. The film’s texture is full of color, making it visually compelling. Each scene’s weight is palpable thanks to the pacing and cinematography. This is a harrowing story of loss, forgiveness, and trauma. Kaphar has a great handle on this film full of heavy themes and resonance.
How does Tarrell’s story play out? Kaphar leverages flashbacks to slowly build the tension of this rekindling relationship between Tarrell and his father. We witness La’Ron’s attempts to reconnect with his son, as he apologizes for how he treated him to show that he has grown. This is not always successful, but what makes those moments challenging are the flashbacks that bring Tarrell (and the audience) back to everything he has suffered through. Those scenes are hard to watch and we can experience how hard and harsh La’Ron was to his own son. You can feel both the soulful anguish and the physical pain that Tarrell cannot shake. The peeling back of the layers helps craft an engrossing experience.
The other layer of the story is Tarrell’s artistic expression. He brings his trauma to life in his art, and it affects the dynamic with his wife (Andra Day), a fellow artist. There is some strain in their relationship, as they must trade off opportunities to be present parents and artists. The film sows Tarrell as a father, and how he is attempting to be a more loving and open presence in his child’s life. But the dynamic with his mother (Aunjanue Ellis-Taylor) is the emotional core of the film. The stress of bringing La’Ron back into the picture and Joyce’s own baggage makes the story even richer.
What is the key element of this film that brings things together? The performances. Holland is a revelation here. He displays tenderness as a father and husband, while we see the calm fracture and break. His pent-up trauma boils over and explodes in fiery altercations. Holland has never been challenged with such great range before, and this leading role lets him shine.
But Jelks is the real standout, as he must express physical anguish (the results of an early assault), as well as complex emotional rollercoaster. Due to the flashbacks, we see Jelks in two completely different spaces: as a powerful, abusive, and oppressive presence in his son’s life, and as an older man — his performance is full of regret.
Ellis-Taylor, meanwhile, is just authentic and full of charisma. Her scenes with Holland are some of the best in the film. And Day is the last of the main cast in terms of what she is provided, but she makes the most of it, and has good chemistry with Holland.
Exhibiting Forgiveness just might be the hidden gem of 2024’s latter months. It’s a dense and rich cinematic experience that delivers so many great moments. The performances are on the top tier across the board, with most of the main cast deserving awards consideration. Kaphar shows why he is a newcomer who is worth your time and attention. This film is full of emotional and thematic depth, and will have you processing and navigating tough issues long after the credits roll.
Rating: Loved It
Exhibiting Forgiveness is currently playing in theaters
You can read more from Shane Conto, and follow him on Instagram and Letterboxd