This evaluate is a part of our protection of the 2023 Sundance Movie Competition.
The Pitch: Indonesian rapper James (viral star Brian “Wealthy Brian” Imanuel, in his display debut) is about to hit it large. So large, in actual fact, that he pronounces on Indonesian TV that his subsequent profession transfer is to journey to Hawaii to document his first actual album, with the backing of Western studio executives and a phalanx of stylists, brokers (an icy Kate Lyn Sheil), and music video administrators (a prickly Anthony Kiedis of the Crimson Sizzling Chili Peppers).
That is information to his father Joyo (Yaya A.W. Unru), who’s guided his profession up thus far, an aged, working-class man not a lot attuned to the wants of the music trade as he’s determined to look out for his son. A few of that is the same old overbearing-father stuff, but it surely’s underpinned by the truth that each he and James just lately misplaced James’ brother, Jaya.
It’s the type of tragedy that will trigger a rift in even the healthiest father-son dynamics. However Jaya persists in hovering behind his son even after getting fired, misguidedly taking care of him in ways in which intervene with the slick trade flacks that now encompass James — making the scenario a veritable powder keg ready to blow up.
I No Hassle You: Justin Chon’s fifth movie follows alongside the narrative threads he’s traced in movies starting from Gook to Ms. Purple to final 12 months’s Blue Bayou, tales of fragmented household models and ambitions colliding towards the specificities of East-meets-West tradition conflict. With Jamojaya, Chon engages in a few of his most attention-grabbing, experimental craft so far — which is an efficient factor, contemplating the looseness with which its narrative and thematic concepts are inclined to play out.
On the coronary heart of the story is the titular Indonesian fable of Prince Jamojaya, who transforms right into a banyan tree and leaves his brother struggling to search out him, a lot much less perceive him in his new kind. It’s a deliciously elemental core on which to hold the narrative, born out by Chon in animated sequences and purposeful utilization of Hawaii’s bucolic seashores and towering mountains.
Chon finds alternatives to put James and Joyo alike on the foot of a banyan tree, wanting up as if to hope that their misplaced beloved one is in there, someplace. All within the hopes of grounding them on this intimidating new cultural context they’ve discovered themselves in, one which brushes off James’ makes an attempt to remain rooted to his household and tradition (studio execs callously brush off his repeated entreaties to make use of an Indonesian baby’s refrain in his works, or the normal swimsuit his brother used to put on).