WATCH THE TRAILER HERE
First, the Recap:
Who’s to blame? The nature of accusatory beliefs, statements, attitudes is one that only seems to instill all those swept up into them being placed into two ultimate modes–attack or defense. With the burning volatility that comes with inflammatory topics, it showcases the darker sides of our human existence more often than one that might at least indicate there’s a willingness to talk it out, logically think it through, or even be willing to face ugly truths we simply don’t wish to believe. It is the year 3000, and in a post-apocalyptic world where THE race war has run its course, a young African-American woman named Danai (Teajuana Scott) wakes literally to find herself in its explosive aftermath–apparently the only one of her ethnicity’s gender to have survived. But when she runs into a Caucasian mail carrier named Sidney (Sam Krueger), their interactions fuel a valley of emotions within them both–and could reveal an even more shocking reality.
Next, my Mind:
Candid in its delivery, raw and unapologetic in its thematic explorations, and wholly necessary and no-nonsense in making the equally essential statements it does, this 20-minute indie short film effort from writer/director/editor Raeshelle Cooke and co-producer Andrea Wolanin couldn’t be more timely in its message as this country that is the land of the free continues to experience the ongoing crisis, confusion, and need for true, heartened understanding, better judgement, and, ideally, reconciliation of the threads of disunity and strife created by the racial divisions we face. With the newer and more than fully understandable movement like Black Lives Matter, what might carry some measure of surprise here is exactly, in perfectly feasible and worthy form, how this film chooses to tackle the entire notion of the racial chasm.
With a straight forward narrative that puts a deeply sobering perspective on the theory of a world utterly decimated to a specific degree by the results of a war primarily between black and white, the film smartly delves into a much more revelatory level of actuality birthed from the grander overall scenario depicted, masterfully pulled off through not just the main act of the film’s story, but made even more irrevocably impactful in a myriad of ways via the culmination of it all presented in the effort’s jarring and provocative finale that places an entirely fresh and potentially hard to hear truth square in the face of the viewer. As stated so many a time by this critic, it’s the sheer fearlessness, some might go as far as to say audacity, of indie filmmakers to make huge declarations that aren’t meant to be controversial or contentious, but rather raise awareness, to break through the hate and anger, and see what’s really underneath it all, which can be quite unexpected and highly intuitive.
Of course, there is also nothing actually wrong in choosing to address such a blatantly intense, unpredictable, sometimes borderline erratic, turbulent argument as is visualized and verbalized here for the absolute sake of “shock and awe”, but sometimes, is this not the way we have to learn in order to actually pay attention and be willing to REALLY take a look beyond the surface circumstances and instead turn the sights inwardly to both ourselves and the community of people we cling to with compassion, love, allegiance, yet desperation as well? For, if we are to see some form of ultimate discernment and then subsequent appreciation for what struggles are being faced and then be taught how to profoundly SEE them in order to initiate change, we must look to ourselves like this to perhaps realize that at least SOME of the issues could find their origins from within rather than solely from without. Again, this critic felt like the film conveys all of this with sobering, evocative effectiveness.
This is by NO MEANS to negate all the fully legitimate moments and events that shake us to the core (as they SHOULD, folks) the genuine injustices done, for there is so very sadly plenty of that to go around and be held accountable to. To feel the fiery passion to want to see justice done and tangible transformation happen, to pray to experience a lasting end to what keeps us apart AS human beings and find the common ground we need to, to see sincere acknowledgement of said struggles in a way that DOES mean something. What strikes me to the soul is that it is ALL possible. Yet, do we witness, somehow, that the instigation of more unrest as a design to see this evolution happen come about instead of real equity and viewpoints that transcend skin color? It’s why I always feel that films like this are indeed needed and appreciated, thanks once more to the innate boldness to take a stand on even hotbed topics that indie filmmakers are willing to do.
Scott brings all the bravado she can muster and does so with a believably resonate intensity through her role as Danai, a woman not only on the edge, but quite legitimately the last of her kind in the forever rippling repercussions and consequences of a world gone mad to a bitter result that has left her lost, confused, highly agitated, and frantic for answers that may or may not come to her via the means she discovers. Only adding to her state of disarray, an encounter with that which she sees as the primary catalyst to all that has transpired fuels a storm of diatribes that initially brings her a sense of power, until furthering her tirade ushers in an unanticipated actuality that could change her position forever. It’s an emotionally charged foray into the vastness that is racial politics and both the ambiguities and hard facts that come with it, with Scott infusing the character with a self-awareness yet vulnerability that is tangibly potent and realistic in its portrayal.
Krueger likewise brings forth a different form of urgent fervency through his role as Caucasian former mail carrier Sidney, who now delivers the “mail” in a wholly different form that plays such a key factor in the proceedings. As his affable but mildly wary introduction to Danai turns immediately hostile in many respects, Sidney’s efforts to try and keep a level-headed perspective on the situation only gives her more things to rage at. Yet, his firm yet unwaveringly persistent manner towards her is what at times appears to be a vain attempt to illustrate the human equality his mentality seeks out in others, even though it more than irritates his newfound companion. There are specific nuances to how Sidney interacts with Danai that to delve further into would venture into potential spoiler territory to a degree, but suffice it to say, Krueger embodies the portrait of what the underlying facets of this film are trying to get it, and he performs it with equal realism and credibility.
The only supporting appearance is made by Norm Johnson via a photograph as another primary influence in Danai’s life, her father. In total, “Woke” stands quite sturdily and with a no-nonsense conviction on its foundational core messages sure to promote consideration beyond the surface of the relevent issues at hand in our contemporary world. In doing so, it truly creates an atmosphere that should cause us all to stand back, take stock of what is happening around us when it comes to racial and associated societal tensions and then challenge us to ask ourselves, black and white alike–are you really ready to face the truth? And, are we then really ready to find the solutions that will ease ALL people in order to see a much brighter tomorrow.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
