“Chee$e” Is a Model of What Independent Filmmaking Should Be

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“Chee$e” Is a Model of What Independent Filmmaking Should Be
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.tnyfrontrow reviews the sly and hectic comedy “Chee$e,” Damian Marcano’s second feature, which is screening on Friday in this year’s edition of BAMcinemaFest.

There’s a kind of cynicism so brazen that it plays like sincerity, and that’s all the more delightful when its playfulness is at the fore. So it is with the sly and hectic comedy “Chee$e,” the second feature by Damian Marcano, which is screening on Friday in this year’s edition of BAMcinemaFest, a vital annual showcase of independent films. Marcano returns to his native Trinidad and Tobago to film a picaresque of a young man with big plans and big problems.

With quasi-documentary curiosity, Marcano revels in the details of the cheesemaker’s art—one that Skimma masters, but the apprentice’s peculiar uses of that art are the engine of the drama. Skimma warmly regards Ottone as a “father figure”; he also considers his boss, who moved halfway around the world to follow his pleasure and remake his life, an example of what white people can do and he himself can’t.

Against this background of grief and self-doubt, Marcano introduces a jolting, affecting spiritual dimension that’s rooted in the country’s religions and customs, centered on Osiris and on a “black-magic priestess” named Hortencia . Along with the country’s distinctive cultural heritage, the movie dramatizes—candidly and energetically—its enduring, internalized colonial politics and mores.

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