Judas and the Black Messiah

Judas and the Black Messiah ★★★★½

HIS EXUBERANCE IT’S PERPLEXING

There are very few occasions when one comes across a film whose strongest point is the title, since here it exhibits a symbolic coherence with the narrative, more than anything because of the crude, direct and risky way in which it shows topics political and social, such as a racist and oppressive system and how it tries to justify the questionable, daring and vile actions of the FBI in its favor. The production design and cinematography recreate the time very well, highlighting the use of shots for each of its main characters. Although the film has its arrhythmic moments (the romantic subplot being the greatest example), at least they don't feel artificial and make sense near the climax and ending.

Lakeith Stanfield transmits the human misery Bill O'Neal finds himself in, a wandering entity without ideology, belief or party, justified only by money and with a very cleverly developed psychological profile, which is complemented in the end with documentary material. However, the one who steals the show is Daniel Kaluuya as Fred Hampton, someone equally "questionable" in his fierce speeches and who has a much more mystical and brutal construction to create an emotional connection with his short life as the revolutionary leader of the Black Panther Party. An excellent balance between social criticism and drama from Shaka King.

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