RAINDANCE 2020 | "Josiah" Gets Uncomfortable As Director Kyle Laursen Examines Stereotyping In Hollywood
10/12 ForReel Score | 4/5 Stars
For many people, conversations about discrimination are difficult to have. But these conversations are even more difficult when jobs, careers, and professional relationships are at stake. In Josiah, writer and director Kyle Laursen gives audiences a front row seat to an uncomfortable scenario that demonstrates the complications in trying to tackle sensitive social subjects in a professional environment. With fantastic camera work and remarkable performances from the cast, Josiah is a well made and necessary short film.
Filmed as a smooth gliding one-take sequence, Josiah follows an actor, Brandon (Luke Forbes), into an audition where he’s trying out for the role of Josiah in a new post-Civil War TV drama. Besides himself, three other people are in the room: the writer and director of the project Jack (Kevin Dunn), Brandon’s agent Mark (Mather Zickel), and Mark’s assistant Tina (Melanie Chandra). Introductions go smoothly and Brandon’s first reading of the script is praised. But tension fills the room when Tina raises concerns about the “N” word appearing in the script. A tough conversation ensues as these four characters try to remain professional in the midst of unchecked subconscious bias.
The topic is timely as society grapples with how to address the social disparities between white male privilege and mass misrepresentation of minorities, especially in Hollywood. Josiah identifies how clout in the industry makes it difficult to challenge figureheads on their deep-seated, often unconscious, views of minorities. It’s a short film that’s filled with intolerant and discriminatory micro-behaviors that go unaddressed, ultimately making things uncomfortable for the four individuals in this room, and for the audience watching.
Like when the three men are discussing the controversial move of the Cleveland Browns to Baltimore. Assuming Tina is uneducated on the subject, Jack takes a moment to break down - mainsplain, if you will - the context of the controversy. When Tina fires back with an informed response comparing the abrupt transition of the Browns to the Colts’ own reassignment out of Baltimore, Jack responds, “thanks Tina,” then quickly changes the subject.
It’s a glaring moment that reveals Jack’s tendency to belittle or disregard a minority’s contribution to a conversation, initiating the pressure cooker type tension that begins to build in the room. As the audition goes on, Mark tries hard to maintain the peace and his important professional relationship with Jack. Brandon is saying whatever he can to maintain his eligibility as a candidate for the role. Meanwhile, Tina is throwing strong hints at Mark to immediately address Jack’s behavior, and Jack is entirely unwilling to value anyone’s opinion that doesn’t reflect his own. With so much on the line for all of their careers, the scenario begs the question: how should a situation with improper social dynamics be handled?
The answer isn’t simple, which is why it is both frustrating and appropriate that Laursen avoids offering any definite answers. Instead, he ingeniously floats the camera between and around these characters, keeping a sustained finger on the pulse of the room and allowing the audience to take in all of the reactions, facial expressions, and body language organically occurring within this awkward exchange.
Like the characters in Josiah, we all have our own perspectives about social issues that should be shared and discussed. Laursen’s short film may not offer a satisfying resolution to the issues that arise in the story, but he does seem to challenge viewers to continue the conversations after the credits roll. Maybe then we can be more prepared on how to respond when a situation like in Josiah presents itself in our own lives.
Acting and Casting - 2 | Visual Effects and Editing - 2 | Story and Message - 1 | Entertainment Value - 2 | Music Score and Soundtrack - 2 | Reviewer's Preference - 1 | What does this mean?