There is something magical that occurs when a cultural critic decides to step away from their podium and instead pursues the kind of work that they previously endeavoured to critique and discuss from afar. In the case of Cord Jefferson and his directorial debut American Fiction proved to be one of the most successful and intriguing examples of this in practice. Adapted from the novel Erasure by Percival Everett, the film is a scathing, razor-sharp satire focused on a down-on-his-luck author who decides that he needs to find a way to become successful, and in an effort to prove the hypocrisy of the contemporary literary landscape, he produces a work designed to lampoon conventions, but accidentally creates something that is heralded as a masterpiece. Much like the seminal classic The Producers, this story focuses on someone setting out to fail, but inadvertently succeeding, which not only proves to be unexpected but also becomes quite inconvenient, since success is not always a benefit for some people, especially since failure is often far more interesting or profitable in some instances. As one of the year’s most intelligent and profoundly complex comedies, American Fiction is exceptional, a masterful example of a strong concept being paired with a director who has nothing but the most sincere affection for the material, but also not enough investment in the socio-cultural structures that enabled such stories to flourish, which seems to be something that Jefferson brings from his own career as one of the most fascinating cultural critics of the past few years. An ambitious debut that immediately draws attention to his impeccable narrative skill and undeniable eye for detail, American Fiction quickly establishes Jefferson as a major filmmaking talent, with his quick wit and ability to plumb the emotional depths of some truly challenging subjects, while never losing that spark of ingenuity that made the original novel such an inventive piece of literature, a quality that is translated brilliantly into this tremendously endearing adaptation that manages to be just as provocative as the source material.

There is a very narrow boundary between a satire being merely good or managing to become revolutionary, even if only in quite a small way. The idea that a satire always needs to make its intentions clear (since the audience needs to be aware of what is being lampooned) is archaic and old-fashioned, and we have found the most inventive stories are those that contain layers. We find this being the case for American Fiction, which is a wickedly funny film that looks at different subjects across a variety of levels, each one being given attention and eventually combining with the central narrative to be an even stronger, more provocative work when everything is blended together. This film in particular starts as a bold satire on race, which immediately gives the film a sense of importance (this reaction itself being something that the film itself openly mocks, which only proves its ingenuity – to have the exact kind of response that the filmmakers knew viewers is a brilliant piece of artistic prognostication), and situates it within the contemporary era in a way that is impossible to ignore. Unfortunately, America continues to have a challenging relationship with race, and while it is a nuanced conversation that cannot be restricted to a single discussion such as this, it is clearly something that informed the vast majority of what Jefferson was aiming to achieve with this story. In particular, his target is art, which is usually used as a vessel of passive collective protest – why would anyone prefer to march in the streets when they can get the same sense of self-satisfaction from reading a supposedly realistic novel, which allows the audience to practice their allyship without any of the risks associated with an actual protest. This is the primary angle taken by the story, and it is just as subversive and bizarre in practice as it is in theory, and this gives American Fiction such a jagged but brilliant atmosphere, which Jefferson quickly harnesses in favour of the other aspects that drive the story, particularly the blend of emotions that govern the narrative and make this such a peculiar but captivating holistic experience.

However, the real nuance in American Fiction comes in the themes that occur around the main plot, particularly those relating to the domestic life of the main character, a thoroughly mediocre man who believes himself to be extraordinary, when in reality he has competency and an inflated sense of self-worth that he may believe to be confidence, but which is actually just the start of a growing delusion of grandeur. The film takes the character of Thelonius “Monk” Ellison and reconfigures him to be someone with many different layers, and we find that the most fascinating comes in the moments when he interacts with his family. There comes a point when we realize that this film is not just a satire on the literary industry and the way the art industry uses subjects like America’s history of racism as a marketing tool, but also a charming and complex family saga. This is the other notable layer that Jefferson uses as the foundation for the film, and we find that there is a complexity to this side of the story that is quite impressive, even when it is seemingly much more simple than we may have initially expected. The message at the heart of American Fiction is that every artist is influenced by those who surround them, especially one’s family – they are our first confidantes, and our formative encounters with life’s many challenges usually occur alongside these people. No one is an island, and for the protagonist in this story, he is forced to navigate complex feelings towards his family, which is an uncomfortable process that has to be revived after a tragedy that causes each member to reflect on both their own mortality and their relationship with one another. Despite being quite different in terms of both mood and narrative impact, this side of the story doesn’t at all distract from the overarching satirical elements – in fact, it often supplements the film in surprising ways, especially when it comes to demonstrating just how much his own familial history influences the protagonist’s work, often taking the form of subconscious decisions he makes in his professional life that are only revealed after he undergoes the process of intense self-reflection, one of the only positive experiences that comes from grieving a loss and reconnecting with the past, which can sometimes be quite uncomfortable.

A film like American Fiction is only going to be as good as its ensemble, and from top to bottom, Jefferson assembles a formidable cast that is absolutely incredible, handpicking actors to play these roles, which required strong, forceful individuals who could handle both the tonal shifts and the narrative complexities. The role of Monk Ellison is tailor-made for an actor like Jeffrey Wright, almost to the point where it is a miracle that he got the role, solely because he has been overlooked as a leading man for decades, usually being relegated to scene-stealing supporting roles, despite his natural charisma and endless talents. Wright commands the screen with such intensity, navigating the complex task that stands ahead of him with such ease, and we find that many of the most memorable moments come when he is allowed to interpret the character in his own way. It would be difficult to imagine any other actor in the role – Monk needs to be bookish but street-smart, elegant but capable of being humiliated without it becoming too overly comical. It’s some of Wright’s best work, and it proves to be a firm reminder of his impeccable talents. However, his performance is only one of about half a dozen, with American Fiction being populated by an incredible cast – Sterling K. Brown (who has himself been circling around being labelled one of his generation’s finest actors) is simultaneously heartbreaking and hilarious as Monk’s brother, who drifts aimlessly through a world from which he used to hide his true identity, now deciding to make the most out of whatever time he has left. Additionally, we find that Monk’s story is one that can be analysed through the relationships he had with various women throughout his life, and the film does exceptionally well in casting the roles of the various people who influenced his journey – Erika Alexander, Leslie Uggams, Tracee Ellis Ross, Issa Rae and Myra Lucretia Taylor are all exceptional, bringing so much heart and humour to roles that could have been one-dimensional, but prove to be the soul behind the film. The ensemble works together exceptionally well, and we find that the best moments are those in which we can feel the genuine spark of human connection lingering beneath the surface of certain scenes, which is all a credit to the actors and their steadfast commitment to bringing this story to life. 

It might be surprising to discover that a film that tackles such wildly disparate concepts is a directorial debut until we realize that sometimes it takes a novice to have the audacity to make something with so many layers that would rarely be considered feasible at a cursory glance. Jefferson is knowledgeable enough about art to have a firm grasp on the general narrative process, and his work as a screenwriter over the past few years has been good practice for what was inevitably going to be a remarkable debut as a director. American Fiction is certainly not a film that contains many particularly easy concepts – it has a simple enough narrative, so it never has to work too hard in terms of the story itself, but it’s through the more important aspects that we soon discover the true mastery lingering beneath the surface. This film is something of a tonal ballet, a striking spectacle that leaps and twirls through a number of different emotions, each one captivating and rendered in vivid detail, which is impressive all on its own, and only becomes more impactful when it intertwines with the over-arching narrative. There is not a moment in this film that isn’t filled to the brim with the most sincere emotions, and Jefferson manages to temper every scene to match the underlying intention. The more comical moments are sharp and witty, while the sequences that touch on the more sobering subject matter are executed with respect. The film constantly oscillates between different tones, but in a way that is logical and which always makes sense. It could have easily resorted to the most overly sentimental, unnecessarily dense emotions, but the film refuses to abandon its sense of genuine authenticity that drives the entire experience, and Jefferson proves himself to be exceptionally strong when it comes to developing the tone of the story, which is beautifully captured throughout this film, which proves to be quite a melancholy exercise, albeit one that does find the inherent humour in even the most downbeat of situations.

As daring as it is hilariously funny, and driven by a genuine sense of curiosity, American Fiction is a remarkable achievement, and a film that is as insightful in its quieter moments as it is captivating when it is allowed to be more outrageous, which is all done with precision and elegance. Perhaps its the exact kind of hackneyed cliche that a character like Monk Ellison would rebel against, but this film proves that some stories are more worthwhile for the journey rather than the destination, and that sometimes the small details that exist in between big moments make the most significant impression. Notable in its refusal to be conventional, but still capable of being compassionate where it is necessary, the film is an empathetic, moving celebration of both the art of creativity, and the importance of family, two concepts that the protagonist struggles to find the value in at the start, but which he gradually starts to appreciate through the process of self-reflection and stepping outside of his comfort zone, which allows him to see the world in a very different way. Jefferson is a major talent, and any filmmaker that can emerge with their debut and not only establish themselves as an exciting voice but stir curiosity in the viewer about what their next project will be has clearly proven themselves worthy of our time. American Fiction is a remarkable film, a warm and engaging comedy that is smart and quick-witted, and always armed with some fascinating observations, whether it is on the nature of art, the crisis of consumerism or the human condition as a whole, and it all feels entirely genuine, as if we are getting unfurnished insights into the mind of someone who has dedicated their lives to revealing the truths that are often hidden from view, but yet serve as a cushion for society as a whole, particularly in how it upholds certain standards, which this film aims to methodically dismantle with incredible precision, It makes for profoundly entertaining cinema, and only helps elevate this film to be nothing short of a masterful satire that takes aim at many complex ideas, and doesn’t miss a single one of them in the process, hitting every target with a fiery passion and wicked sense of humour.