The brilliant director, a young Black New Yorker, treats the film's white, fifty-ish, probably-voted-for-Trump characters with unforced empathy, placing them within a redemptive framework of people struggling towards a state of grace that might never be achieved. It's a bridge-building piece of Americana that doesn't let anyone off the hook, although the closing upbeat/inspirational notes seem a bit odd when you look back on the story, which is mostly just astonishingly sad, a chronicle of missed cues and craven errors in judgment that snowball until karma snaps into place and everyone in the Bells' orbit suffers unimaginable pain. You can see why the filmmakers went with a non-linear structure: if they laid the same events end-to-end chronologically, viewers would come away shaken to their core, and the film would make five dollars.
Dramatizing A Story Karma Pdf Freel
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