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Review: In the bruised ‘Exhibiting Forgiveness,’ a painter and his father reunite, uneasily

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Review: In the bruised 'Exhibiting Forgiveness,' a painter and his father reunite, uneasily

As a movie buff with a penchant for exploring deep, emotional narratives, I find “Exhibiting Forgiveness” to be a profound and poignant masterpiece that resonates profoundly with my soul. André Holland’s performance as Tarrell is nothing short of mesmerizing, and his portrayal of an artist grappling with pain and resilience is both raw and deeply moving.

In “Exhibiting Forgiveness,” André Holland portrays a tormented artist and family man, who seems to not only handle paint, but yearns to dive into it, as if it were a healing tank, preventing his wounds from deepening any more.

Titus Kaphar’s emotionally intricate, semi-autobiographical directorial debut offers a raw, profound perspective on healing, resilience, and the creative process. It showcases how creation can rescue someone, yet leave them puzzled by the boundaries of its therapeutic power. While the gifted character Tarrell (played by Holland) can escape disturbing dreams through his work in his home studio where he creates large-scale neighborhood scenes that are both comforting and unsettling, the unexpected return of his estranged father La’Ron (John Earl Jelks) demands more than just his usual artistic expression with brush and canvas.

Tarrell, along with his wife Aisha (Andra Day), who’s a singer-songwriter, and their young son Jermaine (Daniel Berrier), travel to Tarrell’s childhood home to assist his lively mother (Aunjanue Ellis-Taylor, an inner-light prodigy) with packing for a move. However, the sudden emergence of his father at the scene seems to ignite a fury on Holland’s countenance, much like someone had marred one of his masterpieces with an unfamiliar color.

Review: In the bruised 'Exhibiting Forgiveness,' a painter and his father reunite, uneasily

La’Ron, a man who feels transformed after overcoming addiction, yearns for another opportunity to bond with his son. However, Tarrell finds this situation puzzling because even La’Ron’s devout mother supports it, despite suffering from La’Ron’s turbulent past just as much as Tarrell did. But their faith in the Bible provides a protective barrier for them, especially the power of forgiveness, which Tarrell sees not as a universal solution but rather as a questionable balm that overlooks the source of the wrongdoing and the harm it has inflicted.

The crucial day of Tarrell’s trauma is repeatedly depicted in extended flashbacks throughout the movie, showcasing a terrified young boy (played poignantly by Ian Foreman) uncovering the harsh consequences of his father’s dangerous drug habits. Jelks skillfully portrays the rougher, more unsightly version of the man who, despite being broken but unyielding, is now attempting to make amends. The emotional standoff between the characters is intensified by the subtle way Jelks and Holland depict the similarities and differences between two men with violent pasts who are closely linked.

For a novice director, Kaphar fearlessly navigates the intricacies of his story, preserving a sense of depth even when some sections veer towards melodrama. It’s encouraging to see his unwavering commitment to allowing scenes to unfold organically according to their emotional trajectory – particularly the initial tense encounter between the reconnected father and son. Interestingly, Kaphar refrains from excessively manipulating his talented ensemble cast. When Kaphar, ably supported by cinematographer Lachlan Milne’s subtle mix of warmth and chill, introduces a creative element, such as Tarell seeing his childhood self as a somber presence next to his artwork, these instances resonate deeply rather than appearing overly self-indulgent. (Kaphar’s artwork for the film is on display at Gagosian in Beverly Hills until November 2.)

However, it’s the portrayal of the artist as a character caught between youth and maturity, past and future, that distinguishes “Exhibiting Forgiveness” as a film exploring creativity. Notably, after a brief glimpse of La’Ron’s drug paraphernalia in a flashback, we see Tarell, at his most vulnerable, turn to his art supplies, as if seeking solace and familiarity similar to a comforting addiction.

Art builds up, on the other hand, drugs destroy, and religion may be manipulated. However, the profound lesson from “Exhibiting Forgiveness” is that art creation is a process, not always a remedy. As we observe Tarell persevere during his creative process, learning what his art should become as he grapples with the gift of empathy, we begin to appreciate the aesthetic beauty in life’s relentless incompleteness.

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2024-10-18 23:01

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