WATCH THE TRAILER HERE
First, the Recap:
First impressions. Always known as an integral facet of the preparation for and then subsequent actions taken that will ideally define who you are, seeking to BE impressive for another. Now, the actual SUCCESS of this endeavor can assuredly be a challenge, especially when the circumstances go beyond just personal appearance or attitude, but rather to the very core of being reminded of our heritage while being paired with the importance we represent to those with whom we already share an unshakeable bond with. One evening, Haitian-American Jean (Edson Jean) is simply looking to place an order at a local club/eatery, but his lack of speaking the local language ends up bringing him into contact the beautiful Minouche (Nagela Lukacs) who teaches him a vital, necessary lesson through learning a traditional Haitian dance style–and reconnecting him with his culture.
Next, my Mind:
Barriers are most often associated with physical obstacles that bar our way from progressing in the direction we intend to travel. But let’s be honest, they can take on SO many other forms, some subtle, others just as blatant, and it is these variants on the term that form the foundational gist of the 9-minute short film from writer/director/producer A. Plancher, producers Timothy Mark Davis and Edson Jean, along with executive producers Ronald Baez, Gabrielle Barlatier, and Richardson Chery which has its World Premiere in-person debut at the 2023 Tribeca Film Festival June 11th with additional screenings on June 14th and 17th, then streaming online through the Festival site June 19th-July 2nd. This highly affecting foray into what it is to be both socially and culturally aware takes us on a magical journey with both charming whimsey and moving drama from start to finish. It’s a grounded, human exposition that this critic feels is the hallmark if indie cinema and why it is a medium SO in need of MUCH larger exposure to the filmgoing masses.
Here, the narrative delivers us a beautifully uncomplicated but not remotely shallow or un-engaging portrait of a man in search of a simple food order from a local eatery that turns into an experience in humbleness, flirtation, and language of both verbal and non-verbal nature, the latter expressively and creatively presented through the sheer, unquestionably stirring beats and atmospheric ambiance of the music we hear and its associated dance style known as Konpa. Watching how all of this ends up having its sway, personally and in the relationships, old and new, he holds most dear, what then makes this adventure in just BEING who he is and relishing unanticipated sources that end up as the catalysts to effectively bring him back home while being open to new, exciting possibilities so significant is just how understated yet unequivocally powerful and intelligent the immersive, flowing imagery and perfectly apropos amounts of timely dialogue are executed, giving us the right mix of pacing and relevancy of themes at all times.
Plus, I am going to dare anyone NOT to be profoundly moved by the film’s deeply touching finale and how deftly it speaks to all we’ve seen up to that point. Underneath the surface, what stands out so strongly for me is the manner in which the notions of embracing one’s heritage and the desire to carry on a lasting legacy are addressed, not just in the context of the birthing of a budding relationship, but also through the innate bonds we (ideally) share with our family, wishing to pass the torch, honoring our upbringing and its traditions that make us proud to BE from where we originated. In this current day and age when there continues to be such (UNNECESSARY!!) division among us as PEOPLE, it’s this stylistic approach to story and these themes that I feel ARE desperately required to not only allow US to be reminded about being dignified IN our respective conventions, but also recognize when we’ve allowed that to slip away in the chaos of life, therefore cultivating a yearning to perhaps re-discover our roots like this film adeptly does.
As hinted at above, the music just transports you to the islands, the sun, the clubs, the closeness, and allure of movement, plus just being definitively sexy. The utilization of it here creates a “character” in itself, evoking the requisite feelings and ties to customs passed down through generations smartly and acutely, as well as romance of course! As I consistently feel and make known that another core facet of independent film is the presence of characters that are relatable and grounded, no exception to this was encountered here, starting with the fully credible performance put forth by Edson Jean through his character Jean, a man looking for food but, initially unbeknownst to him, in TRUE need of remembering where he comes from. Stopping by a local restaurant/club to place an order, Jean ends up running afoul of a language barrier followed by an emotional one that gets revealed through meeting an enigmatic and highly attractive young woman named Minouche.
Taking him on a playful but purposeful road filled with cheeky banter, a blossoming attraction, and the enthrallment of Haitian dance, Jean gains the wake-up call to all he’s actually been in deficiency with, even has he has another even more heartening reason to return to his roots. It’s a wonderful performance that uses understatement and body/facial expression to speak volumes about the themes explored while adding a level of intentionally veiled charm simmering underneath. Lukacs more than makes her presence known as well through her role as Minouche, a young woman who works at the restaurant/club Jean has arrived at but is getting stymied by reminders of what he’s left behind. As she at first makes his experience more teasingly difficult instead of being what appears helpful, she slyly maneuvers the situation to bring him into the club itself where the strains of music and undulating bodies draws him inexorably in and onto the dance floor where Minouche coaxes him into actually learning the Konpa.
It’s this level of interaction and unanticipated fascination (including evident romantic sparks!) with how he’s being re-introduced again to who he is that makes Minouche such a force to be reckoned with, and Lukacs just smolders with the potent mix of gleefully, totally innocent, mildly snarky comedic flair followed by undeniable magnetism and chemistry with Jean that just sells what’s brewing between the characters plausibly and intensely without it being overwhelming or overdone. Supporting appearances are made first by Marie Lafalaise-Noël as an almost grandmother-like woman who handles cooking the food at the club and who possesses more than a little (hilarious) attitude in her initial meeting with Jean. Lesly Chery makes his appearance in only one brief sequence, but I will just say that it is one which carries amazing weight and absolute pertinency to the film’s underlying themes. An additional appearance is made by Makisha Noël as a nurse. Kudos galore to the band and extras in the club scenes as well. Just captivating.
So, in total, “Konpa” is a delightfully appealing study of life, how we so easily lose sight of ourselves, what unforeseen elements can bring us back around, the wonder of what can manifest from this reawakening, and also how much we need to press into our customs, beliefs, and culture in order to stand firm for all that makes us US, affirming this with those closest whom we cherish and represent the ongoing future for. Not too shabby to have a little romance pop into the picture either, right?
As always, this is all for your consideration and comment. Until next time, thank you for reading!
