Jimmie’s story is too specific and personal to be dismissed as a simple narrative of socioeconomic discontent, and it carries a droll vein of humor that inoculates the movie against self-pity. Jimmie and Mont may be reserved on the surface, but they are also unwitting folk heroes in a contemporary urban picaresque. Their emotions find expression not only in their work — a play Mont is writing, the labor Jimmie pours into his old home — but also in the filmmaking, in the intense hues of Adam Newport-Berra’s cinematography and the churning, majestic strains of Emile Mosseri’s score. (“The Last Black Man in San Francisco” won two jury prizes at the recent Sundance Film Festival, including one for Talbot’s direction.)

Source: Los Angeles Times June 04, 2019 19:18 UTC