Mo McRae’s directorial debut, “A Lot of Nothing,” is a tour-de-force in filmmaking. It seamlessly blends themes of race, class, and gender, with dynamic cinematography and impressive performances. The film opens with a visually stunning 17-minute one-shot, masterfully choreographed by cinematographer John Rosario, that gracefully introduces the affluent setting, shifting power dynamics, and central characters James (Y’lan Noel) and Vanessa (Cleopatra Coleman) as they react to the news of a white police officer killing an unarmed black neighbor. The richly theatrical prologue, infused with David Sardy’s restless jazz score, sets the tone for a humorous and socially conscious commentary on the struggles of modern activism.
The screenplay, written by McRae and Sarah Kelly Kaplan, is a clever journey of twists and surprises, including a role-play session that ignites Vanessa’s passions. The film raises the question, are James and Vanessa just talk, or will they put their activism into action?
After a tough day at work, grappling with the news of the black boy’s death, Vanessa confronts police officer Brian (Justin Hartley). He threatens her with arrest and uses racially charged language. She leaves the encounter shaken, but James attempts to diffuse the situation by visiting Brian’s house. However, Brian reacts with aggression, and the situation quickly spirals out of control when Vanessa, armed with a gun, surprises both James and Brian and demands Brian accompany them into their house to answer for his actions. The previously confident activists are now faced with a daunting responsibility and must navigate their next steps.
McRae’s direction is stylish and confident, and he brings a strong sense of visual storytelling to the film. The performances by Noel, Coleman, and Hartley are outstanding, bringing depth and nuance to their characters, despite the script’s tendency to veer into heavy-handedness. “A Lot of Nothing” is a bold and impressive debut, tackling challenging themes with intelligence and a willingness to delve into the complexities of race, class, and gender.
As the film progresses, the audience is taken on a rollercoaster of emotions, experiencing the tension, fear, and panic of James and Vanessa as they navigate their newfound responsibility. The film is not just a commentary on modern activism but also a commentary on the human experience. The fear and panic James and Vanessa experience is universal, and the film speaks to the fear and uncertainty that we all face when confronting a situation outside of our comfort zone.
The cinematography in “A Lot of Nothing” is nothing short of breathtaking. The 17-minute one-shot opening sets the tone for a visually stunning film, and Rosario’s camera work is masterful. The film’s visual style is inspired, and McRae’s use of imagery and symbolism brings the film to life in a way that is both captivating and memorable. The film is a visual feast, and the cinematography is sure to be remembered for years to come.
The performances in “A Lot of Nothing” are equally stunning. Noel, Coleman, and Hartley bring their A-game to the film, and their performances are nothing short of captivating. The film’s script is heavy-handed at times, but the actors are more than capable of bringing depth and nuance to their characters. It’s a showcase for their talents, and they deliver standout performances that are sure to be remembered for years to come.
Mo McRae said in a private screening, that his movie’s journey took 5 years to complete. They shot 7 days before the pandemic shutdown, waited two years and had the luck of having (mostly) everyone back for another 10 days to complete the film.
“A Lot of Nothing” plays like a symphony of provocative themes, dynamic cinematography, and standout performances. The film balances the intersections of race, class, and gender, and brings a fresh perspective.
