Lovers Rock (Small Axe)
BBCThere are certain films out there that feature a vision so focused and so singular that audiences either find them captivating and riveting or unengaging and perplexing. Lovers Rock, the second installment in acclaimed director Steve McQueen’s anthology series, Small Axe, is a good example. Lovers Rock revolves around an evening at a house party in 1980s West London, where romance and music reign. It functions more as a tone poem than any sort of straightforward narrative, making it resonate deeply with some, maybe leaving others cold. Either way, it’s an important film simply for showcasing black culture in an incredibly authentic way, which is rare in popular media.
The script, courtesy of McQueen and Courttia Newland, is able to accurately capture a very particular dialect in its naturalistic dialogues. The performances from everyone are authentic and believable, though their characters lack the depth and content that would make them shine brighter. The pacing will be a make-it-or-break-it thing for many, as its methodically slow and purposeful rhythm can border on unnecessarily drawn out and repetitive, considering its lean 70-minute runtime.
Regardless of certain issues with the structuring and pace, it is a technical accomplishment on almost every level. McQueen’s direction is the star of the show here, as he is able to handle the material with a sensitive, deft and respectful touch. That sensitivity carries over to the cinematography, where Shabier Kirchner plays with focus, light, close-ups and mostly handheld shots to create a truly unique visual experience. The camera ebbs and flows through the scene of the party and the flashes of the different attendees just living in the moment, dancing and singing in unison, which is breathtaking at times. The soundtrack is an incredible assortment of period-accurate songs, energetic and recognizable throughout. The costume and set design is also consistently impressive, adding another layer of realism to the film.
Lovers Rock’s biggest strength and biggest weakness is that it leaves one wanting more. Everything within it is clearly intentional, but a bit more narrative momentum and solid character development could’ve turned this easily into an masterpiece. It’s a testament to the massive talent of McQueen – even though this, it doesn’t reach the heights of his strongest works, but it’s still a confident, compelling watch. It’s not for everyone, but it’s a vital piece of media that serves as a representation of black culture with an 80s aesthetic that makes it stand out.