This is the sort of movie that Sofia Takal wanted to make for feminism when she helmed the umpteenth remake of Bob Clarke's Black Christmas a few years ago (what a mistake that was), and I dreaded the same kind of heavy-handed retread with racism in Mariama Diallo's debut film "Master". I had nothing to worry about, it turns out, as this film expertly walks a tightrope between the psycho-thriller and supernatural genres, but isn't satisfied with pinning all our attention on plot points.
The strength of the film lies in its subtlety in portraying racism in some of its most banal and toxic forms, from simple snubbing to complete lack of empathy, and beyond to destructive projections of self-hatred and victimization.
Diallo has structured the film in an intriguing, if not overly-studied, way --- alternating (almost without interruption) the journeys of a tenured teacher just promoted to a prestigious Hall Master/advisory position (Regina Hall, rarely better), and an incoming freshman (the almost painfully fresh-faced Zoe Renee). Each are seemingly being harassed and tormented by unknown and possibly "unearthly" forces, most of the latter originating from a legend of the hanging of a suspected witch centuries earlier.
But Diallo is too smart to take any of the supernatural contrivances very seriously --- oh, this movie still has some good horror film moments and effects to show you, but she's hoping you'll see beyond the obvious artifices and look at the story thematically. There really isn't much in the film that can't be explained away by sheer exhaustion on the part of the victims or sheer hatefulness on the part of the oppressors. I liked how there were no SFX demons rearing their ugly day-glo heads and steering us into fantasy world --- this film has too much to say to sidetrack itself in such a predictable and lazy manner.
The real horror in "Master" extends beyond the upper-class status quo's failure to make any real strides to remedy the problem of racism in any way except cozy-sounding slogans and lip service. Diallo nicely slams this home by juxtaposing a Benneton-lite ad for the college next to a scene featuring a burning cross that Renee finds outside her dorm.
And the twist at the end (involving a very fine Amber Gray) is extremely daring in its outrageousness, though not *that* implausible, sadly, in our sell-out culture.
Some might look at the film as ultimately defeatist in tone, but that's a little too convenient. I think it's a film that does what lots of good works of art attempt to do... hold up a mirror and make us look at the state of things. If we don't like it, it certainly doesn't mean a failing on the artist's part.
The strength of the film lies in its subtlety in portraying racism in some of its most banal and toxic forms, from simple snubbing to complete lack of empathy, and beyond to destructive projections of self-hatred and victimization.
Diallo has structured the film in an intriguing, if not overly-studied, way --- alternating (almost without interruption) the journeys of a tenured teacher just promoted to a prestigious Hall Master/advisory position (Regina Hall, rarely better), and an incoming freshman (the almost painfully fresh-faced Zoe Renee). Each are seemingly being harassed and tormented by unknown and possibly "unearthly" forces, most of the latter originating from a legend of the hanging of a suspected witch centuries earlier.
But Diallo is too smart to take any of the supernatural contrivances very seriously --- oh, this movie still has some good horror film moments and effects to show you, but she's hoping you'll see beyond the obvious artifices and look at the story thematically. There really isn't much in the film that can't be explained away by sheer exhaustion on the part of the victims or sheer hatefulness on the part of the oppressors. I liked how there were no SFX demons rearing their ugly day-glo heads and steering us into fantasy world --- this film has too much to say to sidetrack itself in such a predictable and lazy manner.
The real horror in "Master" extends beyond the upper-class status quo's failure to make any real strides to remedy the problem of racism in any way except cozy-sounding slogans and lip service. Diallo nicely slams this home by juxtaposing a Benneton-lite ad for the college next to a scene featuring a burning cross that Renee finds outside her dorm.
And the twist at the end (involving a very fine Amber Gray) is extremely daring in its outrageousness, though not *that* implausible, sadly, in our sell-out culture.
Some might look at the film as ultimately defeatist in tone, but that's a little too convenient. I think it's a film that does what lots of good works of art attempt to do... hold up a mirror and make us look at the state of things. If we don't like it, it certainly doesn't mean a failing on the artist's part.