THE CHANGE: Standing Up, Falling Down (2020) V. Bloodshot (2020) – A film essay

As times change movies are expected to be a little more aware of the world we live in and the people that live in it. This is definitely more expected of mainstream films as they reach a wider audience through and through - this however leaves most independent film to wallow in its our filth if no one is really watching, especially now a days. This hasn’t been clearer than with recent releases - Standing Up, Falling Down (2020) and Bloodshot (2020).

Back in the day, you could rely on indie dramedies to share a important social message that brings certain struggles to light, mainly because indie films don’t have to rely on pleasing the public, but a certain subsection of indie films have become increasingly stagnant and offensively antiquated - Standing Up, Falling Down (2020) for instance is about a young white male protagonist who is trying to find himself, while living back with his parents, while getting the girl and having a black best friend for support; i.e. the David O. Russell Oscar nominated king of all these - Silver Linings Playbook (2012). This very tired and pointless formula positions women as prizes, relationships as escapes and minorities as characters white people look down on,

to laugh at, to educate about their own culture to and to treat as servants; i.e. - a scene where the joke is that an Indian man working as a subordinate to the protagonists sisters, is casually treated like dirt and seen as goofy and weird because he has an Indian accent; as if it was necessary to the film makers to have a character that has an accent, so that dumb white people viewing the movie can laugh. Another strange scene features Billy Crystal asking an Asian man if he wants to sing, Domo Arigato Mr Roboto by Styx at Karaoke - this isn’t too subtle. In an earlier scene, Billy Crystal tells two black characters what “real” Hip Hop is. These tone-deaf excuses for “funny” scenes paint the picture that some independent films have chosen to go the way of the 90's/2000's romantic comedy, where white people are the ones who matter and where there is no need to do anything different.

Bloodshot (2020) - What would seem to be a big dumb mindless action film, and it is. Bloodshot is at least mindful enough to feature a brown person of color as the protagonist, a brown female as the female lead and several side characters whom are black and brown people of color, and guess what? Aren’t used as stereotypes and/or treated to elevate the protagonist with their ethnic backgrounds. Bloodshot has an East Indian computer genius, a black computer genius at the helm, and a completely platonic relationship between the male protagonist and the female lead - Also not to mention the film is extremely entertaining to boot. How is a film made for teenagers, designed to make millions and starring Vin Diesel, more responsible and morally sound than an indie flick starring Billy Crystal about finding your true voice? This, maybe the change we’ve been seeing in mainstream movies like: Get Out (2017), Black Panther (2018), Yesterday (2019), Escape Room (2019), Spider-Man: Far from Home (2019), Star Wars: The Force Awakens (2015), etc. These film trends have been bringing ethnic identity and ethnic normality to the front of pop culture, pushing the reality that everyone no matter what race, is the lead, the villain and the best friend, free of the limitations of stereotypes and harmful old school scenarios involving people of color in film.

Independent film Standing Up, Falling Down seems like it was made in the mid-2000's, and is a relic of where we use to be in film, but more importantly the mainstream has begun to catch up intelligently, and therefore between the two, Bloodshot is shockingly the better film in a world where indies are still seen as the only intelligence and progression in cinema.

• Maurice Jones

The Assistant (2020)

Robert Egger’s The Lighthouse (2019) displayed workplace struggles in the Horror genre, but Kitty Green’s The Assistant (2020) displays the horrors of the workplace in the real life genre.





When Jane (played by Julia Garner), an entry level secretary at a production office, goes about her stressful and degrading tasks, her concerns rise, as evidence piles up that her boss is taking advantage of young women who dream to be actors.





Kitty Green’s debut full length feature is the ultimate combination of her past documentary features, all based on the objectification and gaslighting of young women in the entertainment industry. The Assistant patiently displays an entire day of college student Jane, as she comes to grips with the disturbing reality that her boss uses young women for his own pleasure, promising them their dreams. Underpaid and under appreciated, Jane has to show up first and leave last at her entry level office job that shes constantly told to be thankful to have. As she cleans up after everyone, covers up for her boss and endures constantly taunting and belittlement from her male coworkers, Jane discovers that there is no reward in going to College or working towards your dream job, and people will take advantage of their positions in a company because they can. The Assistant reminds us that money has a strong on hold on us all, that were forced to take an opportunity if it means survival, and the most vulnerable are students and young women. These scenarios for these demographics lead to being talked down to and being gaslit, by “higher ups” who should know better who just wanted to cover their financial gain and positions for better or for worse. What’s so frightening in The Assistant, is that it’s subject matter is reality, and the protagonists involved can’t do a thing about it in these workplace/film institutions, where analyizing a woman's looks is paramount . This is what makes #metoo such an important movement, as it not only protects young women and women alike but confronts workplace abuse and gaslighting in general.





Julia Garner does perfect work playing an entry level worker going through the motions of her day to day in an office, and awkwardly and timidly dealing with the heinous and apathetic actions of her co workers and bosses in the cold backdrop of the film industry. Julia Garner accurately matches the mood and tone of the films direction and colour plate, of greyish green tint among thankless and carelessly sardonic characters, as Jane drowns in a sea of hopelessness and numbing. 


Kitty Green's direction is key as she even takes an interesting notion with clothing, using Jane's outer wear as somewhat protection from lechery in a scene with an HR representive that turns into a gaslighting attack, and ends in belittlement with the shaming of a scarf.





Kitty Green’s frighteningly yet calmingly sobering The Assistant is a reminder that everyone who gets taken advantage of in the workplace is somebody’s mother, father, son, daughter, parent, loved one and/or child. And the importance of change is so everyone has protection and solace under the law, and amongst decent people wherever they are. The Assistant is 2020's first important film of the year. 9/10.

• Maurice Jones