(2019) Thriller (Breaking Glass) Hafsia Herzi, Sarah Kazemy, Kevin Kane, Lucy Walters, Gabe Fazio, Lev Gorn, Lawrence Novak, Rebekah Del Rio. Directed by Mark Jackson
We don’t always get to choose how we are defined. We may see ourselves one way, but the world insists on putting its labels and prejudices on us. A beautiful French Muslim girl, therefore, is looked at as a hijab-wearing potential terrorist despite the fact wshe doesn’t wear a hijab nor does she seem interested in detonating bombs.
Hafsia (Herzi) has taken up her friend Zarah’s (Kazemy) offer to visit her in New York, paying for Hafsia’s plane ticket. Zarah is now an actress, living with Heath, a much older rich white man (Fazio) and essentially turning her back on her past, drinking, wearing revealing dresses and Westernizing her name to Sarah. Hafsia, for her part, has remained provincial, a cashier in a bakery who, as Zarah tells her partner late one night, smells bad, like the world Zarah fled. Zarah is unaware that Hafsia can hear her.
With the reunion between the two childhood friends going catastrophically, Hafsia arranges to rent a cabin in upstate New York, taking Zarah’s identity as well, professing to be a nurse (the profession Zarah was in before she came to America) and living the rustic life in the woods, with no electricity and an outhouse in the back. Her mental state, always fragile, begins to unravel. She meets a couple – teacher Rose (Walters) and cop Darren (Kane) – in an adjacent property and is cajoled into drinking with them. Thus she begins an education into what being a Muslim in America in the third decade of the 21st century entails.
Herzi gives a marvelous performance; sometimes she seems so withdrawn that her physical body language makes it appear as if she’s scrunched into herself. Other times, she is shrieking in fury. Never do her actions feel forced, but there are times, particularly during the third act when she is let down by a script that is too strident by half.
Jackson clearly has a bone to pick with the attitudes of Americans at this time in history (not that I blame him), so when Hafsia attends a party that Zarah and Heath throw, she encounters the kind of subtle, condescending racism that is most often displayed by people who probably don’t think of themselves as racist at all. It’s what you might call “white liberal rednecks” in action.
There’s some lovely cinematography and the score is pretty decent; the problem here is that third act when the movie loses the good will it’s built up and instead of making points that resonate, turns into essentially a diatribe against white Christian privilege and while I don’t have an issue with that – there’s an awful lot of that going around lately – I found it literally to be oppressive in a different way. There is a point when if someone screams at you long enough, you just stop listening and it all becomes background noise. I fear that this film has reached that point.
REASONS TO SEE: A gripping performance by Herzi.
REASONS TO AVOID: The last half hour is just off the rails.
FAMILY VALUES: There’s a fair amount of profanity as well as some sexual situations and frank sexual discussions.
TRIVIAL PURSUIT: Executive producer Reed Morano, best known for his work producing A Handmaid’s Tale, was Director of Photography on Jackson’s last film War Story.
BEYOND THE THEATER: AppleTV, Fandango Now, Google Play, Vudu, YouTube
CRITICAL MASS: As of 6/12//20: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: A Woman Under the Influence
FINAL RATING: 5/10
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