Utilizing his paintings to find freedom from his past, a Black artist on the path to success is derailed by an unexpected visit from his estranged father, a recovering addict desperate to reconcile. Together, they learn that forgetting might be a greater challenge than forgiving.
No matter what anyone might say, and regardless of how virtuous its impact may be, extending forgiveness to another is nevertheless often difficult. While it’s true that the benefits to come from it can be considerable, reaching that point generally requires overcoming significant pain, resentment and disappointment. Such is the case for Tarrell (André Holland), a gifted and successful artist whose work is in great demand. However, the profound artistry behind his paintings stems largely from his difficult upbringing, having been raised mostly by his loving mother, Joy (Aunjanue Ellis-Taylor), after she booted Tarrell’s abusive, drug-addicted father, La’Ron (John Earl Jelks), from their home. Despite the departure of the source of that agony, the pain of Tarrell’s existence has lingered ever since, and his painting has served as an important form of de facto therapy. But the roots of his anguish remain, and he has difficulty getting past his past – that is, until his long-absent dad reappears in his life. Trying as it might be, this unexpected reunion presents an opportunity for Tarrell, Joy and La’Ron to work through their ordeal, but are they up to it? That’s what writer-director Titus Kaphar’s debut feature seeks to do, a story drawn in part from his own experience and featuring paintings created by the filmmaker himself. Through this story, the act of forgiveness is explored from myriad angles, unflinchingly depicting the pain and difficulty involved in achieving it. The picture also shows how the impact of such torment can “unwittingly” extend to others, including ostensibly innocent bystanders like Tarrell’s wife, Aisha (Andra Day), who puts her own career as a musician on hold while she attempts to help her husband sort out his issues, a simmering source of strain in their marriage. This is all effectively brought to life through an artistically beautiful, gorgeously photographed production, backed by an emotive and engaging soundtrack. Admittedly, the pacing could use a little shoring up in spots, and the emotional depth that seemingly should have infused the writing for certain scenes doesn’t quite reach the peak that it could have, but those drawbacks are well camouflaged by the fine performances of the ensemble, especially Holland and Ellis-Taylor, who deliver some of the best work of their careers. Most importantly, though, “Exhibiting Forgiveness” is definitely a movie with a powerful message, and it makes no effort to conceal it. It drives home its point with forcefulness and clarity, as well as fearless, unapologetic candor, successfully avoiding the pitfall of sugarcoating, soft peddling or sanitizing how challenging a process extending forgiveness can be. We could all learn a lot from that – and, considering the state of affairs in our world these days, it would behoove us if we did.