In Till, Chinonye Chukwu brings to vivid life a tragic chapter in American history
Chukwu has personalized Till, or “Bobo” as he’s lovingly referred to by family, so that he’s not just a symbol. He’s flesh and blood, he’s a boy who enjoys teasing his mother, hanging out with his cousins. More importantly, he’s full of joy. That joy defines the last few days of his life, and Hall leans into showing it so that the audience feels the acute pain of his absence. And whenever he’s with Deadwyler, everything becomes more real because of her grounded and ferocious performance.
Additionally, the score by Abel Korzeniowski is a tad too melodramatic—especially after Deadwyler has avoided all of that. She doesn’t need the bombast and all the audience needs is her perceptive and stoic performance. And otherwise, the film’s visuals are not distinctive. But the moments that are most powerful inare those where Chukwu concentrates on people’s faces filling the screen, both actors and extras. After all, history is told by the people who witness it.
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