By Matthew Moorcroft

Strong Recommendation

• Directed by Cord Jefferson
• Starring Jeffery Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown
• R

When Monk sits down to write his joke of a “book”, or at least what he considers a joke of one, perspective switches. What was initially a simple dialogue heavy dramedy goes meta, seeing an almost live performance of the book that is being written in real time – warts and all, as characters will stumble over their lines or lose track of their surroundings as Monk changes the setting or line of dialogue to better fit the tone. It also, unsurprisingly, changes the rest of the film, signaling to us that unreliable narration is the name of the game here.

From the getgo, it’s clear American Fiction has a ton on it’s mind, from race relations to how we view black artists and their work, as well as general black family dynamics in modern day US and how these relate back to the stereotypes we tend to be fed through the media and other works of, well, American fiction. Cord Jefferson, previously a journalist turned screenwriter, also clearly has a ton on his mind, with his clear disillusionment at the types of stories Hollywood is willing to tell about POC characters obvious as some of the more broad topics that American Fiction itself is willing to approach.

Broad doesn’t necessarily mean bad though, as last year’s ridiculously fun and thoughtful Triangle of Sadness showed us, and while American Fiction isn’t as slavish or stylish as that film is, it might just be funnier and more scathing, ripping apart notions of civility quickly and early on as it tackles white centrism within academia in just the opening scene alone. Monk is a character who feels tailor made for this kind of picture – an immediately iconic figure for his lead actor to embody, both arrogant and likable, self-centered and thoughtful, sarcastic and heartfelt. He’s a man of two sides, a loving family man with an academic so far up his own ass that he sometimes fails to see the greater picture.

Said greater picture, of course, is how the hell do we even quantify what is considered “great art”? Monk is dissatisfied with the way certain black authors use what he feels are stereotypes, and there is a validity to his feelings here, especially as you notice the patterns yourself. But also the film brings up the key point of, well, is that really his choice to make? If it resonates with a chunk of a POC audience, then is it still worth it, even if there will be au uncurious white audience who may herald the work as genius in spite of it’s clear stereotyping issues and weak prose? The question is never answered and I don’t think it’s supposed to be. Monk himself is shown to be out of touch with mostly everybody he meets and seems to despise anything that’s aimed at a more mainstream regardless of intent, which makes for a fascinating character study as we dive into his personal life as equally as his professional.

It’s ultimately the familial drama that Jeffery Wright and the rest of the cast shine the most, bringing a much needed warmth to what could have otherwise been a cynical affair. Wright’s layered portrayal is as entertaining as it is compelling, and despite Monk’s clear flaws you sympathize with him, and even come to love him. The rest of the cast stands up to Wright’s level, with Sterling K. Brown being an obvious standout by taking what could have been a one note comedic character and turning him into a empathetic, deeply sorrowful figure.

And that’s why, maybe even in spite of some really small, nagging nitpicks I found American Fiction, beyond being a blast of a time with a large crowd, to be one of the more witty, layered films I’ve seen this year. Jefferson is great behind the camera but even better behind the pen, and the entire cast is perfectly game and cast for the tale he has spun here. Sometimes being a laugh riot is all you need to be and American Fiction is that and more; a satire with actual bite behind it’s words, not just simple platitudes. Comedy of the year? Very likely, adored this!