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Late era L.A. Rebellion Cinema with looming figure of the the U.C.L.A. launched movement, Charles Burnett, writing, photographing, mentoring, and providing his own family members as actors for director Billy Woodberry in this spiritual sequel to Killer of Sheep.
Misleadingly simple in its construction and tone, taking cues from Latin American Third Cinema, Italian Neorealism, British Kitchen Sink Drama, and all the Marxist economic concerns therein, the movie paints the world of a struggling family in Watts in the early 80’s as it seemingly was, with very little artifice placed between the viewer and subject save for a subtle mastery of camera placement and some forlorn jazz mixed low on the soundtrack.
“Just the blues and Brecht” is how Woodberry has spoken about this film. It’s a drifting dream of looking for, and sometimes doing, work; undiagnosed depression; trying to raise a family under financial duress; and occasionally finding release where you shouldn’t. The film culminates (but does not end... and that feels the most real of all) in an extraordinary kitchen argument that hammers home just how amazing Kaycee Moore's Performance as the mother is.
Among all this are the children, watching, taking on the frustrations and anger and implied social violence of their parents laboring under the weight of poverty. The title of the movie clearly tells us that in the end, this is really about them, about the children, and the cycles and behaviors that are being learned under these conditions.
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