2018 Directed by Carlos López Estrada
Collin must make it through his final three days of probation for a chance at a new beginning. He and his troublemaking childhood best friend, Miles, work as movers, and when Collin witnesses a police shooting, the two men’s friendship is tested as they grapple with identity and their changed realities in the rapidly-gentrifying neighborhood they grew up in.
Daveed Diggs Rafael Casal Janina Gavankar Jasmine Cephas Jones Ethan Embry Tisha Campbell Utkarsh Ambudkar Wayne Knight Kevin Carroll Lance Holloway Nyambi Nyambi Jon Chaffin Margo Hall Ziggy Baitinger Travis Parker Justin Chu Cary Casey Adams Michael Rhys Kan Justin Liu Aviel Ayoung Rolanda D. Bell John K. Moeslein Sarah Kay George Watsky Kendra Andrews Eduardo Ambriz DeColosio Zack Duhame Amanda Encelan Rahul Gupta Show All…
Brian Sampson Eddie J. Fernandez Jeremy Fitzgerald Zack Duhame Eric Jacobus Casey Adams Matt Berberi Clayton J. Barber
緩刑七十二小時, Мъртва точка, Τυφλό Σημείο, Punto ciego, בליינדספוט, ブラインドスポッティング, ბრმა ლაქები, 블라인드스포팅, Zaślepieni, Ponto Cego, Blindspotting - À Queima-Roupa, Слепые пятна, ที่นี่...ประเทศไหน, Kör Noktalar, Сліпі плями, 盲点, 緩刑72小時, 盲點
USA
Sundance Film Festival
USA
South by Southwest Film Festival
USAR
USAR
Hong Kong
FranceU
Brazil14
Ireland15
UK15
Greece
Germany16
UK15
Brazil
France
Germany
Greece
Hong Kong
Ireland
UK
USA
Blindspotting is the kind of film that provokes hours of conversation. Only masterpieces and memorably terrible movies do that, and this film is the former.
There have been multiple great movies this year that frame Oakland as the center of contemporary urban life to show how strongly people of color are affected by systemic issues like colonization, capitalism, gentrification, the prison system, and crime. Each does a great job of not just trying to paint Oakland as a bullet-ridden battleground, the way Republicans choose to depict Chicago whenever it’s convenient– they paint the city as it is: colorful, vibrant, exciting, communal, full of love, full of humor, full of people. They do this because they love Oakland, and understand that, like any city, Oakland is not the sum of its issues, it’s the sum of its people and the way they fight against said issues. It’s…
came out of the theatre shaking. still have much to process but yeah everyone should be seeing this. gonna go listen to clipping now because daveed diggs is the best.
“i am both pictures. see both pictures!”
unbelievably well made: hilarious and meaningful with an honest beating heart at the core. an absolute must see of the year
I would have appreciated a bit more ambiguity and the spoken word simplifies the situations too much for my liking but technically and creatively ambitious. Very promising first feature.
Watched Blu-ray.
I really thought something in this movie would seem worse on a second viewing. I was wrong. Even the most controversial element of this movie (the rapping) completely works for me because it's only used to ratchet the tension up to a ten. The entire second and third acts of this movie are legitimately perfect.
Blindspotting is one of the best movies of the year.
• Tisha Campbell, much like everyone else in Martin, is an American treasure. She's not in enough movies. She has one scene in this movie and she nearly runs away with the damn thing. I think about her delivery of "he makes me nervous" constantly. Come 2020, I will vote for whichever candidate enacts a law that requires filmmakers to ask Tisha Campbell if she wants to be in their movie.
• The Utkarsh scorpion bowl scene is one of my favorite comedy scenes of the decade? We rolled back and watched it two more times after finishing the movie. Absolute gold.
• If you ask me, this– not Blackkklansman– is 2018's Do The Right Thing.
• At the 91st Academy Awards, the Academy Award for Best Original Screenplay went to Green Book.
i understand criticisms of this as contrived, it's intensely writerly thesis—that we unconsciously act and build systems around identities and perceptions—is not an original one but the method here is. the heightened, theatrical rhythm of this builds layers of feeling and performance into both its comedy and drama; a propulsive movement that complicates the steady platform of "ideas", giving this a kind of joyful energy that makes you forget and lose track of the unconscious until it suddenly comes crashing back in in the heartbreaking, maddening realization that your reality is infected by an image of you that others have projected onto you or that (for a bunch of historical and economic reasons) you look more like the people that…
Having the white head programmer of Sundance introduce this as "sassy" was an uncomfortable mistake.
one of the most consistently tense and hilarious films i’ve seen. it’s crazy how realized daveed & rafael’s screenplay is and how much command they have over a medium they’ve never worked in. so many preteen hamilstans are gonna go see this and come out different people and i can’t wait.
