“Blindspotting”, a 2018 film directed by Carlos López Estrada, was produced on a small $1.2 million budget and upon being released in theaters worldwide made a modest $5 million. The film was produced and written by Daveed Diggs and Rafael Casal, who both additionally starred in the film. It went mostly under the radar, and yet it contains some of the most provocative storytelling of any film I have ever seen. Even more surprising, it is an urgent and timely portrait of several social, economic, and racial issues of modern America. This film is especially relevant in places like the Bay area of California, where issues such as gentrification have fostered a growing tension between natives and newcomers and only amplified already existing issues, such as police violence and economic disparity. 

The film follows Collin, played by Diggs, as he navigates his final three days of probation and first day off of it while dealing with the trauma of seeing a white police officer murder an unarmed black man in the street. As he tries to grasp the reality of his situation as a black man and convicted felon in a city plagued by racial disparity and injustice, he also must acknowledge the complex relationship he has with his best friend Miles, played by Casal, a white man who has adopted a hardened and “thuggish” personality to protect himself and his family and to “fit in” with the bay culture around him. Miles’ ideas of cultural assimilation, whether he realizes it or not, are influenced by the racial connotations that have helped perpetuate racism and that Collin is desperately trying to free himself from. 

This establishes an interesting dynamic between the two characters that also inspires some of the sharpest commentaries in the film. There is an ebb, flow, and bounce to the dialogue (heavily influenced by the culture of rap that has become a touchstone in the Bay area) and unmistakable chemistry between the leads that truly sell the friendship and the problems facing it. The versatility of the actors is also phenomenal; Diggs brings several nuances to the personality of his character, and there are scenes where the emotions he showcases, whether subtle or apparent, are haunting. Casal brings a similar amount of nuance to his character, balancing the subdued and distraught nature of Collin with the sporadic and firecracker nature of Miles. 

The biggest strength of the film, however, lies in its intentness on showing, not simply telling. The plight of these characters, and the Bay as a whole, is shown in visceral scenes laced with razor-sharp dialogue, chilling and provocative imagery and symbolism, hold-your-breath moments, and heartbreaking realizations. For example, we don’t need to be told that Collin is being impacted by a police shooting because we see the event in real-time; we see the pursuit, the limp body, and the emotions of Collin illuminated by the eerie glow of the traffic light; he’s stuck in time at as he locks eyes with the officer. Smartly, the perspective never leaves Collin in this scene, and the viewer is left with a first-hand account of police violence. 

There are several scenes of similar impact in the film, all utilizing unique and varied framing and methods of visual storytelling to maximize the impact of a given moment. Not one scene is wasted; each one works to build the characters, the world, and the issues that are threatening to tear both apart. Every single scene hides a deeper meaning and discusses the tension between the old and the new, reality and connotation, the literal and metaphorical borders that continue to sanction and separate us, and the ongoing issues that plague the idea of the American identity. There is an extreme amount of care, control, and nuance to the narrative structure– and how that structure interacts with and complements the soundtrack, sound design, acting, and camera work– that allows for nearly every scene to pack a haymaker to the stomach, whether that be because you’re belly laughing or because your heart is sitting in it. 

While “Blindspotting” is often devastatingly representative of a reality we like to forget exists, it is also frequently humorous, heartfelt, and in touch with the humanity that is needed to truly see and understand each other, the world around us, and the problems we face. For every critique, there is also a loving celebration of culture and friendship, and though it does approach its subject matter and themes artfully and with a distinct style, that style doesn’t take away from or devalue the intentions or impacts of the truths the film seeks to tell. It is undoubtedly one of the most visually and emotionally engaging films I have ever seen, and each time I watch it I respect and love it even more; I find what it accomplishes even more impressive given the budget and this being the feature film debut of the director. There are scenes that will crush you, scenes that will make you laugh, and scenes that will make you rewind and rewatch to pick up on some of the more subtle commentary and incredible storytelling. I’m left breathless and shaking each time I watch it, especially as it crescendos into a series of particularly intense scenes from the midway point onwards, and I highly recommend it to anyone interested in a film with a lot to say. It’s a quick watch, but one that will definitely stay with you for days, and in my case, years after.