In December 2018, Barack Obama published his list of films of the year for the first time, in which, among a Black Panther it’s a Roma, was also found Blindspotting, a little indie shot by newcomer Carlos López Estrada.
Buddy comedy
The strongest personalities behind the film were actually screenwriters Rafael Casal and Daveed Diggs, who also played the lead roles of Miles and Collins. The two are friends in real life and have worked together for years on this story set in their native Oakland, California, which begins as a buddy comedy and gradually becomes a tragedy about racial tensions, gentrification and police violence.
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Casal and Diggs now bring to the screen a series of the same name (on Starzplay from today), based on the same characters and the same environment, which takes place six months after the events of the film, but gives the lead role to a secondary character: Ahsley, Miles’ companion, also played by Jasmine Cephas Jones.
Miles, a hothead source of a thousand troubles, is arrested for drug possession in the first minutes of the pilot episode. Ashley and her son are evicted and forced to take refuge by Miles’ mother, immediately coming into conflict with her sister Trish who has an even worse temper than her brother and is throwing herself into an absurdity. startup of strippers at home. Having moved away from the ghetto for some time, Ahsley appears sad and bourgeois to old friends – actually it would be more correct to say “bleached” – and she herself is torn between her roots and the desire to be elsewhere.
Judging by the first three episodes given as a press preview, the series is even more successful than the film: the pace is lightning-fast, you go in a moment from the hilarious to the tragic; suddenly short musical sequences arrive, sometimes wonderfully unmotivated; Ashley breaks the fourth wall and rhymes while looking into the room. We are somewhere between a Do the right thing, for the sample collection of bizarre neighborhood characters, the brash irony, the social themes, and a Eupohria, for the fluidity with which we pass from the real to the imaginary.