Liberal society is in the process of reckoning with itself, realizing its shortcomings and the blindspots that have permeated culture for many years. While that’s led to a worthwhile spotlight on the previously underrepresented and a movement to showcase diversity, much of it has become little more than virtue signaling, where the aim of a gesture ends up being lost completely by the area of focus. In his directorial debut, filmmaker Cord Jefferson explores this phenomenon from the perspective of one very frustrated intellectual.

Thelonious Ellison (Jeffrey Wright), known to all as Monk, is a college professor who’s gotten himself into trouble more than once for pushing certain ideas on his students that his administration does not endorse. He can’t stand the fact that his novels appear in bookstores in the African-American Studies section, since he firmly believes that the only thing Black about them is the color of the author’s skin. As he visits home and witnesses the ailing condition of his mother Agnes (Leslie Uggams), Monk becomes disturbed by the success of a book written by a Black woman (Issa Rae) that clearly doesn’t reflect her lived experiences and pens his own version of what he thinks white audiences will just eat up.

This is a remarkable first feature from writer-director Jefferson, who has a keen understanding of his subject matter and the tone he wants in his film. There are abundant laughs throughout as Monk expresses his endless disdain with the world around him, starting with his academic peers, then his family, particularly his brother Cliff (Sterling K. Brown), and the publishers who go all in on the garbage he writes just to make a point. There are also dramatic moments to be found, but this is a satire that keeps it all light enough without trivializing anything to deliver a fully enjoyable viewing experience.

Wright, who has more than proven his acting ability with roles in Angels in America and Westworld, among many others, turns out to be just as adept at comedy, something he previewed with his appearances in Wes Anderson films. He’s extremely believable as Monk, and never oversells his anger with the people that surround him, instead framing it with a certain pretentiousness that somehow doesn’t make him fully unlikeable. It’s a delicate balance that he executes very well, and he deserves all the praise he’ll surely get for this performance.

The rest of the ensemble is populated with many standouts, namely Tracee Ellis Ross as Monk’s sister Lisa and Erika Alexander as his neighbor and love interest Coraline. Brown meshes well with Wright as the two brothers butt heads frequently, and Uggams delivers a lived-in turn that feels like it could be part of its own separate movie given how her storyline doesn’t entirely relate to the rest of what Monk is going through in his life. Myra Lucretia Taylor adds heart as Lorraine, the long-serving housekeeper who considers Agnes, Monk, Cliff, and Lisa family.

This film has already had a productive festival run, taking home top prizes at the Toronto International Film Festival and the Middleburg Film Festival. It’s the kind of social commentary that’s perfect for this moment yet likely won’t feel dated years from now since it has a certain timeless quality to it. Monk’s reactions to each situation should be helpful enough as cues for audiences who would ideally reflect back on this film in a changed and better world, though part of the story’s point is that the direction the world is going isn’t accurately addressing the issues that exist.

American Fiction shouldn’t be confused for an aggressive call to action. Instead, it’s a marvelous piece of entertainment that manages to offer somethings serious to be considered at the same time.

Grade: A-

Check out more of Abe Friedtanzer’s articles.

American Fiction screens in the Special Screenings section at AFI Fest 2023 ahead of its December 15^th release in select theaters.