Jordan ( The Wire's similarly doomed teenage project victim, Wallace), but largely to the filmmaker's careful observation of heart-tugging domestic incidentals – Oscar's promise to his daughter that they'll go to Chuck E. Thanks partly to the casting of the magnetic Michael B.
#Oscar grant daughter movie
Shot largely on hand-held super-16mm video and unfolding with a grainy veneer of docudramatic realism, Coogler's first movie is a triumph of social-realist emotional engagement. That opening has embedded the inevitable in our minds, and no amount of niceness, creatively condensed and embellished though some of it may be, will save this man from the incident we've just witnessed.
Instantly, we are made aware of a few things about Oscar that will remain in play until we arrive at the station: Oscar is a decent, responsible, family-oriented guy with the odds stacked against him, prepared to take his daughter to daycare and mindful that it's his mother's birthday – but none of this matters. Jordan), an ex-con with a drug-dealing past, a terminated job in a fish market, a Latina girlfriend (Melonie Diaz) and a four-year-old daughter (Ariana Neal), is trying to make out with his girlfriend when little Tatiana comes to the door.
Opening with the terrifying cellphone video footage of Oscar Grant's last moments – footage that contributed to the public outrage that broke out in the Bay area following the incident – Coogler's movie then moves to the morning hours of Dec. Already a hot-button item following screenings at Sundance and Cannes that reportedly reduced audiences to tears, Ryan Coogler's potent Fruitvale Station, about the last day in the life of a 22-year-old black man who was killed while handcuffed at an Oakland, Calif., subway station on New Year's Day, 2009, now has even more heat cranked up in the wake of the Trayvon Martin trial.
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