In 1964, the Civil Rights Act was signed on by Lyndon B. Johnson to ensure the ban of discrimination based on color, race, religion, sex, national origin, and gender identity. But, decades later, many Americans believe the nation’s obligations towards African Americans were never a promised responsibility in the first place. It’s an uneven distribution of rights for black folks, and white culture still stands as the majority.
From the lynching of Emmett Till to the refusal of dismantling Plessy v. Ferguson for decades to the assassination of Martin Luther King Jr., it all speaks high volumes as to how blacks stay attacked from almost every single angle possible. Hence, the title of director A’ndre Davis’s latest short drama picture.
The story follows a small family of three where the eldest son, Joshua Williams (Tyler Brooks), wants to head out for the night to go to church. His mom, Sharon (Tamara B. Stewart), is skeptical and recognizes his intentions of hanging out with a girl, while the father, Frank (James Hagan IV), is very relaxed and allows his son to go out late. The parents spend time together but get a phone call from a police officer, finding out Joshua was shot and killed. The family grieves and contacts others in the hope of spreading the story. Thus, a congregation comes together to discuss how politics has dismantled the black community.
The subtlety of politics and racial issues drive this feature’s momentum forwards. And the second half goes to extraordinary lengths to comprehend the different perspectives (angles in this case) of how black folks have suffered from police brutality, social economics, barriers, and more. Everyone deserves to have a voice, and what action they take to end racial injustice will mark an impact. It’s a reflective feature, and no matter what, black politics will always stand as essential.
The music, orchestrated by the director, contains an expressiveness and comes in spurts throughout the short. Unfortunately, its timing is partially off-beat when the story progresses and doesn’t add much to the atmosphere besides showcasing the director’s beautiful abilities. During some of the first half, the dialogue is slightly tacky and dispassionate and lacks that temerity and acuity in the noteworthy second half. If the short had built the first half more potently concerning the narrative and characters, this exclusive feature would burst with complete earnestness.
As it stands, Attacked From All Angles is a short that speaks with volumes and the conversation (with all the folks’ angles) is one many should be having.
