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The dog walking scene is a succinct and foreboding bit of foreshadowing. It captures not only Gerima’s themes but also gives a feel for how the film visually delivers information to the viewer. A moment after the original altercation, the male pet owner yells one of the harsher profanities at Miss Vonne. Understandably upset, Jay makes a move to beat this guy senseless for his disrespect, only to be held back by the tough love and wise advise of his mother. She has to restrain him multiple times, but he acquiesces after she reminds him that the temporary sating of his rage will result in more permanent consequences. This will not be the first time Jay will need such an intervention.
Like much of “Residue,” this sequence feels so accurate, so right and so knowing about the people who inhabit it. If you grew up Black or brown in a neighborhood like the Q Street setting of this film, Gerima’s way with the most minute of details will have you talking back to the screen with recognition. I saw in this film my own Jersey City upbringing. It’s in the cadences of Jay’s parents voices as they playfully argue while projecting old-school slides on the wall of their other home. It’s in the way the grandmother of one of Jay’s friends leans in close to him while imparting troubling but important information, something so tragic it warrants a respectful whisper that honors the dead. And it’s in the way Jay’s boys from back in the day repeatedly inform that they have each other’s backs. All these things rang true to me, kicking up sometimes unwanted memories of my own as I watched the film.
The plot is where things become a little fuzzy. Jay has returned from California to write the script for a movie about his hometown and how it’s disappearing. Gerima trusts his audience to know about how redlining and White flight led to the low points that are now being exploited by gentrifying neighbors who can afford to move back to places that would never have been improved had they stayed in suburban exile. How long Jay has been away is not mentioned, though it is long enough for him to return to a place he barely recognizes, one that’s also missing several old friends. Apparently, Jay went off to college (one of his pals calls him “University Boy,” dredging up memories of my friends calling me “Professor”), then ran off to the West Coast to pursue filmmaking.
It’s clear that Jay is trying to find some stabilizing force in his life, but his intentions remain purposely murky. Is his script merely an exploitation of his D.C. street and its denizens past and present, or is there a deeper meaning for him? Dialogue and situations support both interpretations, though the anger of several of his friends play on Jay’s feelings of desertion and the “survivor’s guilt” that occasionally accompanies leaving your hometown and not looking back. The question that hangs in the air is if Jay’s return is on the level, if only because he has the ability to leave again.
I appreciated the potentially open-ended nature of Demetrius’ story, but overall, it didn’t work as well for me as the reunion of Jay and another character who wrote Jay many letters from prison, none of which Jay answered. Again, I refer to the visuals of this sequence and how—and where—it plays out. These moments between Dion (Jamal Graham) and Jay exist simultaneously in the real world and in what is perhaps Jay’s scripted version. Regardless, the expression of affection between these two Black men felt so beautifully cathartic that it stayed with me long after the film was over.
“Residue” was released by Ava DuVernay’s ARRAY independent collective, which specializes in personal films like this one. Whether they’re brilliant, godawful, mediocre, or somewhere in between, movies like these are not only important, they are necessary. Representation matters; everybody has a story to tell and far too few of us are given the opportunity to tell it. Here’s to more stories like this.
Now available in select theaters and on Netflix.
Residue (2020)
Rated NR
90 minutes
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