Aristotle Torres’ Story Ave hits the beats of a coming of age story, but uses its urban Bronx setting to create a distinct world. High school student and street artist Kadir (Asante Blackk) is on the threshold of two different worlds: There’s the one he knows as a vying member of a graffiti gang, and there’s the unfamiliar one that contains possibilities like going to college and becoming a professional artist. Kadir doesn’t have a support network to encourage him down this unknown path—that is, until he meets Luis (Luis Guzman), a wise and matter-of-fact MTA worker. After Kadir is instructed by Skemes (Melvin Gregg), the leader of his graffiti gang, to rob a stranger at gunpoint to signify his devotion to the group, Kadir stumbles upon Luis and chooses him as a suitable target. But when Kadir attempts to rob him, Luis senses his hesitation and urges him to join him for a meal instead. Over dinner, Luis urges Kadir that despite life’s difficulties, growing up means taking responsibility for your own actions. What starts off as a free meal turns into an offer to stay at Luis’s apartment, as Luis casually takes on the role of the positive fatherly role model Kadir has been missing, in hopes that Kadir will make good choices and pursue a worthy life.
If this sounds like a redemption story that you’ve seen before, you’re not wrong. There are numerous portrayals of a positive role model connecting with the rough and tumble teen and setting them on a new path to success. But what stands out in Story Ave is that, through stylistic choices and multi-dimensional characters, director and co-writer Aristotle Torres creates a story that feels genuine and real rather than sappy and idealistic. Take the Bronx setting. It’s clear that Torres grew up there and was a part of the arts scene. The setting is framed as urban, industrial and cramped, with scenes often featuring subway cars. It feels shiny but not clean; immersive and busy, but also lonely.
In addition to the set pieces, Story Ave was shot in a way that draws out these features of the cityscape. When the film opens, you’re immediately aware that it doesn’t look like a prototypical Hollywood movie. It feels almost like found footage, with POV shots that feature faded but bright colors. Camera shots are often from lower angles and off to the side of the scene. It’s disorienting at first, but quickly sucks you into this world. Skemes tells his group that the art they make imitates life, and that could sum up the film’s visual style, which feels authentic. Torres at first seems to promise a surreal approach, as we watch Kadir literally float around his apartment during his brother’s wake. Disappointingly, the director doesn’t continue along such risky lines, but the visual style remains distinct by the end.
In addition to its unique setting and style, Story Ave features multi-dimensional characters. Take Luis—it would be easy for Torres to depict him as a saint. After all, he shows empathy to a kid who tried to rob him. Instead, Luis is seen as a regular Joe who happens to see a struggling kid and decides to throw him a bone. Luis has his own problems, battling alcoholism and his own haunting trauma, which contribute to his nonchalant attitude. As the sole familiar face, Guzman approaches his performance like a veteran, coming across as authentic and relaxed to match the temperament of his character. It certainly doesn’t feel overacted, but it would have been nice to see Guzman take a bigger swing at some point in the film.
Asante Blackk similarly delivers a fierce performance as Kadir and is at his best playing the troubled angsty teen barely holding it all together. You can feel the tension inside of Kadir as he attempts to balance two different worlds. His chops feel stretched at times during more emotional scenes, but he excels as the unconvincingly stoic protagonist. It’s also worth mentioning the performance of Melvin Gregg in the role of Skemes. Gregg excels in the explosive role, and is easy to hate as an antagonist because his character is smart and manipulative. He is afraid of Kadir becoming what he was unable to: Someone strong and talented enough to escape the world they have chosen.
Just as the performances contrast, so do the worlds that Kadir must choose between. There is the calm and steady one that Kadir seeks and the unpredictable and explosive one that he is drawn into. Torres highlights the unpredictability in the latter and the value in having stability when growing up. On the streets, Kadir always has to be on edge, avoiding conflict but also earning and keeping respect. If this seems contradictory, the old world presents a slew of contradictions. How can Kadir be a good person when he let his brother die? How can someone’s art be as worthy if they sell it to rich white people instead of featuring it out in the streets?
In the old world, answering these questions can be an affront to someone’s character. And the cognitive dissonance can cause them to violently lash out. Luis presents Kadir with the chance to take a break from the exhausting world that is full of contradictions and can explode at any time. Though he falters a few times, Kadir is given the opportunity to step off his path, take responsibility and forgive himself and plan for his own future. In his debut feature, Torres offers an authentic glimpse into a world at the intersection of art and gang violence, and demonstrates that empathy is crucial to navigating those streets.
Photo courtesy of Kino Lorber
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