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As we continue to live through an American society ripped apart by race, it’s refreshing to look back on the time that a young white filmmaker from the south made a movie with a largely black, non-professional cast of children, without a hint of pretension. In “George Washington,” David Gordon Green doesn’t depict these children as obvious victims of social injustice, nor does he incorporate the usual stereotypical themes that would be expected from a white writer-director telling stories about working class African Americans in the Deep South. Instead, mining the eccentricity of Charles Burnett’s “Killer of Sheep,” Green shows their daily lives during one summer with lucidity and compassion, under the shadow of the elder George Bush’s presidency.
As we continue to live through an American society ripped apart by race, it’s refreshing to look back on the time that a young white filmmaker from the south made a movie with a largely black, non-professional cast of children, without a hint of pretension. In “George Washington,” David Gordon Green doesn’t depict these children as obvious victims of social injustice, nor does he incorporate the usual stereotypical themes that would be expected from a white writer-director telling stories about working class African Americans in the Deep South. Instead, mining the eccentricity of Charles Burnett’s “Killer of Sheep,” Green shows their daily lives during one summer with lucidity and compassion, under the shadow of the elder George Bush’s presidency.
- 5/28/2020
- by Tambay Obenson
- Indiewire
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