'Till' is one of the most powerful and important films of the year, led by Danielle Deadwyler's incredible performance. Our review:
The murder of Emmett Till is a landmark event in America's long history of racism and injustice. His story has been taught in schools across the country, yet there are still groups of people who attempt to bury his story, hiding it from the public. While the country has progressed in some ways since 1955, there have been other areas that have frustratingly stayed the same, which makes Chinonye Chukwu's latest feature film, Till, still tragically relevant.
Upon learning of her son's murder, Mamie is drowning in her own grief. After having her son's body shipped back to Chicago, she holds a public open-casket funeral, so the whole world can see what it has done to her son. Right before the start of the funeral, she whispers into Emmett's ear, "You're not just my boy anymore," which leads into one of the most emotional moments of the film.
Till is not an easy watch, nor is it one that most will find themselves revisiting. The emotional beats run high, as expected and as they should, but it's the way that Chukwu tells this story with the utmost respect and confidence. Chukwu understands that the audience doesn't want or need to see a recreation of Emmett's murder in order to have an emotional connection, she is already carrying a massive weight on her shoulders in making the film feel authentic and earnest.
In a supporting turn, John Douglas Thompson gives an impactful performance as Moses Wright, Emmett's great-uncle who Emmett was staying with the night of his murder. One particular scene he shares with Deadwyler is one of the film's biggest emotional gut punches as Mamie confronts him about why he didn't shoot Emmett's kidnappers if he already had a gun in his house, and much of the dramatic heft that is felt is thanks to Thompson's outstanding delivery.
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