UW-Madison PhD student, and film critic at AlternateEnding.com
Cute as heck, and the simple line-drawing character designs are a great choice, allowing for big facial expressions that are easy to read and packed with sweet, comically sad emotion. I cannot convince myself that it's not pretty slight, and the actual animation itself feels a bit "exercise"-ey, but it's a nice enough fable about buying your first house, if I'm reading the metaphor correctly.
A collage-like assembly of new old footage, filming moments in the life of Latasha Harlins that were never captured while she was alive and thereby paying tribute to her, as she exists in the memory of her best friend. A little ungainly in places, arguably too long, but it's as much about letting her loved ones find a way to form the words for their sense of loss as anything, and a certain amount of swirling around the topic, trying…
In retrospect, of course Warner Bros. wasn't going to put out a movie that genuinely grappled with Fred Hampton's revolutionary politics, and it's on me that I was idiot enough to wonder if they might. Instead, despite a couple quotes from Marxist literature, and one appearance each by the words "socialism" (at the start) and "proletariat" (at the end; also, I might have missed a "proletariat" in there, I wasn't really thinking to count it), this mostly turns Hampton into…
So first, I can't imagine how damn stupid you'd have to be to think you could get away with telling this story this way without getting life rights from the survivors, or heavily anonymising the details, or ideally both.
Let's say you've decided not to care about any of that. That still leaves the question of what reason there is to tell this story. What is the viewer supposed to get from this? Is it just to grind our faces…