Plot: A novelist who's fed up with the establishment profiting from Black entertainment uses a pen name to write a book that propels him into the heart of the hypocrisy and madness he claims to disdain.
Film: American Fiction
Director: Cord Jefferson
Writers: Cord Jefferson, Percival Everett
Starring: Jefferey Wright, Tracee Ellis Ross, John Ortiz
American Fiction follows weary English professor ‘Monk’, played by Jeffrey Wright, as he receives criticism from his agent for his novels not being “Black enough.” In response, Monk submits a manuscript titled ‘My Pafology’, a story laced with every stereotype and ’black trope’ he can think of, hoping to make a point. Unfortunately, Monk’s book gains immediate popularity and an offer is made that Monk can’t refuse, so he embraces the charade with Arthur’s encouragement.
As well as the obvious comical elements, Cord Jefferson balances the story with tender moments centred around Monk’s family. Jefferson’s visual style is understated yet effective, employing visual gags that speak volumes even in scenes devoid of dialogue. For instance, a scene where Monk attends a reading by Issa Rae’s character, Sintara Golden, illustrates Monk’s incredulity at the reduction of Black experience to clichés, highlighted by a white woman’s enthusiastic applause. There wasn’t a soul in the cinema who didn’t laugh -and that’s what this film is about, poking fun at what we know.
Jefferson’s screenplay is intricate, ensuring the film never feels disingenuous. Jeffrey Wright’s performance as the perpetually grumpy Monk truly shines and he’s more than earned his best actor nomination.
Tracee Ellis Ross delivers a charming performance as Monk’s sister, showcasing a natural chemistry with Wright. Similarly, Sterling K. Brown captivates as Monk’s frustrated yet liberated brother, adding depth to the film’s exploration of familial relationships.
American Fiction straddles the line between absurdist satire and family drama, offering a clever critique of the reduction of Black culture to clichés, while acknowledging that those are the stories that make money. Through its multifaceted storytelling, the film becomes the kind of narrative Monk himself aspires to create— a story about a black man, not a ‘black’ story.