Cord Jefferson has established a name for himself in television, having written episodes of The Good Place and Watchmen, for which he garnered an Emmy in 2020. Making his feature film debut with American Fiction – an adaptation of Percival Everett’s novel Erasure, Jefferson presents a nail-biting commentary on an industry that limits Black storytelling from presenting their true colors. 

No one wants to give Professor Thelonious Ellison – or “Monk” (Jeffrey Wright) a chance to bring his voice to the public eye. Brimming with frustration, Monk crafts his own rendition of the trauma porn the world eats up and becomes the “man of the hour” overnight. If you think that’s where this rollercoaster takes off, we will have to circle back to the beginning.

American Fiction kicks off with Monk, teaching English at a Los Angeles-based university, arguing with a student regarding the usage of the N-word. After getting into a heated debate with said student, he is forced to take a leave of absence. He decides to return to Boston and hopefully say goodbye to writer’s block and reconnect with his family. 

After years of avoiding contact, he finds each of them in places of sadness and distraught. Family matriarch Agnes (Leslie Uggams) suffers from Alzheimer’s, while siblings Lisa (Tracee Ellis Ross) and Clifford (Sterling K. Brown) are recently divorced. Shortly after arriving, a tragedy unfolds and has Monk push aside any disputes to support his family more than he could’ve imagined. As heartbreak arises, so does the idea of the novel My Pafology, which Monk thinks will finally give him his long-awaited break.

Wright is one of our finest talents to date, yet he hasn’t been given the chance to headline a theatrically released film in nearly three decades. Here, he showcases a career-best turn as Monk. He masterfully nails the delicacy of juggling bombastic, comedic moments and tender, dramatic moments. It felt akin to Paul Giamatti’s work in Sideways (2004), where we laugh with the character in one scene and then feel broken by what occurs afterward. There’s no clear word on how this year’s Oscars race will pan out, but it would be a treat if Wright receives his long-overdue first Academy Award nomination. The performance compliments the ensemble cast surrounding Wright, including Monk’s love interest, Caroline (Erika Alexander), and agent, Arthur (John Ortiz).

As much praise as Wright deserves, the true star of American Fiction is Jefferson. He successfully presents each character as a reflection of the multi-dimensional realities Black individuals navigate. With an ensemble as big as this film’s, one would feel everyone lacks a moment to shine, and, thankfully, the opposite is true here. Jefferson beautifully rides the line between presenting American Fiction as a family drama and a satire without having both tones overstay their welcome. It’d be interesting to see how audiences fare with the approaches brought to this film once it hits the public eye. 

American Fiction is one of the strongest debuts in 2023. Jefferson seamlessly leaped from the small to the big screen with an excellent comedic voice and characters filled with nuance and empathy. Some of the satire may have felt bumpy, yet most of it thankfully knocks it out of the park. It’s challenging to be both satirical and dramatic, but Jefferson delivered on that front. It will be an absolute thrill seeing what lies next in his career, whether he sticks to television or continues the film train. I, for one, will be there from day one for whatever is on his plate.

Review courtesy of Bryan Sudfield

Feature Image Credit to MGM via Variety