In Master, the stylish and studied debut feature from writer-director Mariama Diallo, the social thriller has found an authentic voice.
, trails the lives of three Black women over the course of an academic year as they confront microaggressions that sting, provoke, and summon sentiments familiar to any Black person who has trudged the mental battlefield of attending an elite, mostly white college. Paranoia mixed with doubt. Fear overtaken by confusion. The heavy pain of emotional overload. That feeling of everything and everyone closing in.
Without giving away too much, I will say that lynchings are used in the film to both literal and cerebral effect, with Diallo deploying various aesthetic tricks so the audience may better understand the growing darkness that surrounds Jasmine and Gail. This happens primarily through the use of color—Diallo’s signature reds evocatively impress upon the mind—shadows, and alternating camera shots that tease dimension and depth.
And because this era is also riddled with digital apparatuses that tell us how to live, who to be, and what we should and should not aspire to in a land that has, for the most part, persisted on lies, greed, and paradox it can sometimes be difficult to recognize your image in the mirror. To know who you really are. Ours is a nation bound to contradiction. So what can be a saving grace? I like to think it is the conviction of self that is the true stabilizer when faced with sudden dread.
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