Julius Onah has a lot to say. He stepped onstage just before Luce, his third feature as director, screened as the Opening Night film at this year’s Independent Film Festival Boston. Typically a pre-movie appearance from an auteur amounts to a wave, a bow, a “thanks for coming out!” or, at worst, a visible hostage situation at the hands of a ruthless moderator. Onah, in the span of what seemed like less than a minute, reflected on Luce‘s premiere at Sundance and his hopes for the conversations the film will continue to spur; he referred to the movie theater as “his church”; he drew parallels from the film to his own life experience, having emigrated to the U.S. from Nigeria when he was ten; and he even snuck in a playful dig at IFFBoston, noting that he’d submitted several short films for consideration years ago, all of which were rejected.
His film is similarly assertive of numerous ideas without ever being overly verbose. Luce Edgar (Kelvin Harrison Jr.) is a star high school student in Arlington, Virginia who spent the first seven years of his life surrounded by the violence of war-torn Eritrea. His adoption by a white upper-class American couple (Naomi Watts and Tim Roth) meant a new start, though it also meant a long period of adjustment and self-reconciliation. When his stern (some would say “bitchy”) teacher Ms. Wilson (Octavia Spencer) reads an unsettling essay by Luce and finds illegal fireworks in his locker, the question arises as to whether that period of self-reconciliation is actually still underway. Is Luce the model young American everyone makes him out to be? Or is there a darker side within him, manifesting itself as a sociopathic danger to others?
Motion State Review 