Review of The Photograph (2020) by Markhreviews — 06 Mar 2020

For several years now, Writer/Director Stella Meghie (“Jean of the Joneses,” “The Weekend”) has been bucking the odds. In 2017, of the 740 films released in the US and Canada, her “Everything, Everything” was the only film directed by a black female.

With “The Photograph,” Meghie takes on the additional challenge of breathing new life into a long-dormant genre – the black romantic drama. The category has a long history. “Love and Basketball” (2000), “Love Jones” (1997), “The Best Man” (1999) and “Poetic Justice” (1993) are all interesting, worthwhile films. But you’ll notice they’re all over twenty years old.

In this film, well-known photographer Christina Eames (Chante Adams) dies suddenly. This causes her estranged daughter, Mae (Issa Rae), to begin a literal and figurative journey to better understand the history of her mother, who had moved as a young woman from rural Louisiana to New York City to establish a career for herself in photography. Mae’s guide map is a long letter from her mother, in which Christina tries to explain to her daughter what she’s learned about life and love and to apologize for her emotional distance. During her journey, Mae crosses paths with Michael (LaKeith Stanfield), a journalist who is writing a profile about her mother.

In addition to Director Meghie’s steady hand, three elements make this film worthwhile. First, the acting skills and apparent chemistry between Rae and Stanfield offer rocket fuel for this story. Stanfield has shown his chops previously in “Sorry to Bother You” and, most recently, “Uncut Gems” and “Knives Out.” For me, Rae (TV’s “Insecure,” the film “Little”) is a revelation. Her wide-eyed expressions communicate joy, wonderment, pain or wistfulness without the inconvenience of having to move her lips. I’m looking forward to seeing her in “American Princess,” Meghie’s next outing.

Another strength is Robert Glasper’s soundtrack, which is simply inspired. While most of the songs have a smooth jazz inflection, Glasper has selected tracks from the present as well as from the 1980s, the time period for many of the film’s flashbacks. His work gives the entire film a smooth, sexy vibe. He had me at Al Green’s “For the Good Times.”.

Finally, Meghie uses character and plot development to make some key points, not just pass the time with an interesting story. She communicates powerfully about the inevitable messiness of family. Her strongest points are about the necessity of self-revelation, that one can deeply love only by being fully known.

This isn’t a perfect movie. Meghie over-uses flashbacks. Some are fascinating, some are jarring, some are unnecessarily disorienting. And there are occasional minor missteps where “important moments” slip over into melodrama. But these are minor quibbles. I can’t wait to see what Stella Meghie does next.