'The Last Black Man in San Francisco' opens today. The lead actor and director are longtime friends. 'Together they bring a delicate, handcrafted sensibility to this aching story of identity, community and the deep yearning for home,' writes JustinCChang
There is no shortage of lovely images in “The Last Black Man in San Francisco,” from the Golden Gate Bridge wreathed in a gray morning mist to the flowers growing near the Hunters Point shipyard. But the loveliest is a Victorian house located in the city’s Fillmore District — a tall, angular white structure lined with red and gold trim and covered with fish-scale shingles, with a conical “witch’s hat” tower poking out of the rooftop.
Jimmie’s solemn, soulful gaze is matched by that of his best friend, Montgomery , a constant companion who lets him crash on the floor of his cramped bedroom every night. Early on we follow the two of them as they ride together on Jimmie’s skateboard — a sight gag as touching as it is gently amusing — and make their way along the waterfront, into the heart of a pulsing, teeming city with which they feel increasingly out of step.
But when the house is abruptly vacated and put on the market, Jimmie seizes his opportunity and secretly moves in with Mont, working tirelessly to restore the place to its former glory. The house, even more lovingly photographed from inside, is a squatter’s paradise with its antique furnishings and intricate woodwork. But it is also a rich repository of old memories and mythologies, as well as an argument that true ownership transcends matters of title and deed.
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