In “Nickel Boys”, Florida’s shame reflects American indifference.

First, register all Florida. Orange, gator, and crystal blue sky are full of possibilities.

Then, at the beginning of “Nickel Boys”, something else will dawn. The film is shot with a first -person lens. As a viewer, we embody the ambitious black teenager Erwood Curtis who grew up in Talahasie in the 1960s. He is a person looking up at orange, and so is the proxy.

When someone is kind to Erwood, we will receive its wonderfulness like Erwood. As many people hurt Erwood, we will hurt you as an elwood. When Elwood realizes his skin dark, we realize it when he targets Jim Crow South. Due to the comfort of luxurious theater reclinar and couch squeeze, we are facing an extreme eye contact and questions of our own accomplices facing evil.

“Nickel Boys” is a lush and indispensable reconsideration of one of the most shameful chapters in Florida. Ramell Ross directed and recently participated in a film screening of a movie nominated for Best Picture Academy Award. I would like to see the interpretation of the novel “Nickel Boys” that won the Corson White Head Puritzer Award.

The White Head has been inspired by the former Tampa Bey Times reporter Ben Mongomery, Waveny Ann Moore, and the photographer Edmand Fountain. The center has a real Arthur G. Dodie School for a boy near Marianna, a pan handle. For more than a century, the boys were sent to reform schools and forced slavery in a thin veil under a state clock. Some boys have endured the terrible physical, mental, and sexual abuse by the administrator’s hands. Schools have been separated for many years, and black students are often subject to treatment.

The school was closed in 2011. In 2024, Florida Senate passed a bill to compensate for the victims. Immediately after the closure, researchers at Southern Florida University, led by Erin Kimmel, have begun many years of effort to identify that they are left in the unmarked tombs, and many boys who walked to Doddier returned. The fact that it was not is crystallized.

Erwood, played by Ethan Helis, is sent to the fictional version of Doddier after being in the wrong place. At school, he meets a friend, Turner played by Brandon Wilson. They come together to solve what is happening around them and dream of escaping.

Director Ross and shooting director Jomo Frey alternately signed the visuals and stories between Erwood and Turner’s viewpoint. The story shines in the future. There, the abused boys will be addicted to addicted to trauma. It will retreat to introduce the Martin Luther King Jr.’s murder, the murder of President John F. Kennedy, the macro -based macro, the promotion of progress in nasty traditions.

The theme is mirrors, car windows, and stores. The reflective material is a means to show the facial expression, but yes, but I can’t help but think of them as a message. This movie is a mirror to our world, today, and is full of temptation to look away.

And this is a harsh reality. “Nickel Boys” is too challenging and complicated, and you need to be too patient to grab and shake those who need to see it most. In the classroom or conference room. People who look at the systematic imbalances of many generations are still distorting the stadium. People who try to encourage immigrants in schools and churches to encourage the hunting of immigrants and try to rush into the era before reconstruction. People who prefer a country where human rights are dissolved along any geographical line.

In one scene, Erwood is punished for stopping the bully and recovered from assault. A bright student who went to college and planned to become a civil rights leader began to grasp the indifferent of the transmitted nature around him.

“If everyone looks the opposite, everyone is participating in it,” he says. “If I see the opposite, I have the same relationship with others. It’s not what it should be.”

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