Just got back from the world premiere of Good Ol' Boy at the Seattle International Film Festival (with the director, cast, and crew attending).
This is the only response I really have.
It was a brilliant film with wonderful performances. It was chill and happy, but included realistic tension. Honestly, I would have loved it even if it was formulaic, because there was so much charm and style. However, I actually found it (especially the ending) to be a real subversion of expectations; especially those that might be had by a non-immigrant American audience.
The film takes place in 1979, and is centered around an Indian family living in an American suburb. The parents are deeply tied to their Indian culture, but their teenage daughter and ten-year-old son are much more interested in American everything. The tension of balancing life as a third-culture kid is what creates the root of the story.
The performances are uniformly good, but, unsurprisingly, Roni Akurati as the protagonist, Smith (a good American name), takes the entire movie away with him. It is a role of pure energy: in the joy and the pain, he is effervescent.
Sarah, and stuck with the crazytalk play-by-play texts of my entire SIFF experience]).
I will say that if you get a chance to see Good Ol' Boy--and I really hope it gets a wider release--THEN YOU MUST SEE IT.
Also, I perhaps felt slightly terrible approaching this child and