Landing something between Thelma & Louise and Badlands, Queen and Slim is an American road odyssey featuring two characters who have no desire to run away; both Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) are thinking of other things when they go on a tentative Tinder date in an Ohio restaurant. The date itself is inconclusive, and yet Queen and Slim’s paths are now firmly and forever interlocked by fate, or at least the attentions of an overzealous lawman.
Recent features like The Hate U Give have attempted to bring BlackLivesMatter issues to the fore with a heavy hand; Queen & Slim, written by Lena Waithe, and directed by Melina Matsoukas, makes a clear statement about how flashpoints of violence emerge from distrust, then steps nimbly aside to focus on the human cost as Queen and Slim try to register their new predicament. He has a family, but she is a lawyer, and it says something about the growing chasm between races that her immediate plan is to go on the run. Justice, in court, in the media, of any kind is the preserve of a monied elite and if you’re black, it’s hard to trust that the authorities will deal with you fairly, so Queen surmises. Changing cars, haircuts and clothes, Queen and Slim set off in the hope of finding new lives and identities far from their Ohio home.
Their journey has echoes of the Underground Railroad, and Queen and Slim’s story gains power from the ease with which the two characters drop into a criminal world. The resolution is less powerful than the set-up, but Queen & Slim is bolstered by some great character work by Turner-Smith and Kaluuya in particular, building on his electrifying turns in Get Out and Widows.
As a voting Academy member, I’ve yet to meet another voting member who has seen Queen and Slim, despite plenty of public and critical raves. Before suggesting overt racism, it’s worth pointing out that watching 140 films in a solitary month is a impossible task in terms of viewing every film. But Queen & Slim’s failure to gain mainstream recognition confirms the film’s underdog status; like Just Mercy and Waves, it’s a nominee from a year in which carelessly built and outdated voting platforms accidentally squeezed out all but the front-runners.