'Executive Order,' PAFF's Closing Night Film, A Highly-Charged Drama

 

By Darlene Donloe

The Pan African Film Festival’s (PAFF) closing night film is director Lázaro Ramos’s highly-charged drama, “Executive Order.” 

The film, set in a dystopian near-future in Rio de Janeiro, begins when a lawyer sues the Brazilian government for reparation of all descendants of African slaves in the country. 

In a surprising or maybe not so surprising turn of events, the authoritarian government responds by signing an executive order sending all Black citizens to Africa as an excuse to repay the debts of slavery. 

In the vein of the paper bag test of years gone by instituted to decide whether or not a Black person was too dark to be admitted in a particular place, citizens are measured by their skin color, hunted, and exiled to Africa against their will.

Brazilians of primarily European lineage impose a “solution” to racial inequality wherein Brazil finds a much cheaper way to deal with the issue of expensive reparations, instead of paying the descendants of enslaved people the “back wages” they are due because their ancestors, forced to work as free labor, are historically owed.

While the army and police enforce the law, a man (Alfred Enoch) enlists his uncle to find his wife, a doctor who has gone underground so she won’t be deported.  The man, however, is holed up in his apartment with his cousin, refusing to leave. 

This film brings back memories of Playwright Douglas Turner Ward’s play, Day of Absence, which premiered off-off-Broadway in 1965.   That play tells the story of a Southern town where all of its Black residents suddenly disappear, but on their own terms. The production stars Black actors in whiteface in a reverse minstrel show style. It explores themes of whiteness and discrimination against Black Americans through its insertion of Black actors into farcical situations inhabiting white bodies.

Ramos does a masterful turn in building the drama, as we suddenly see Black people being rounded up and forced to literally go back to Africa. Ramos is a renowned actor from Bahia, Brazil who found fame in soap operas and movies. This is his first work as a director. He obviously did his homework. He makes good use of light – keeping it dark and grayish to signify the angst and evilness of the moment.

In a bold and daring move, Ramos shows the government literally taking the words, “Go back to where you came from” to send their “melanin citizens” (saying “black” has been outlawed) to Africa.

The film is disturbing on several levels. It’s in your face and doesn’t back down. It forces the viewer to fully imagine the possibilities.

Ramos co-wrote the script with Lusa Silvestre. He is married to the film’s co-star Tais Araujo.

Alfred Enoch, best known for his turn on How To Get Away With Murder, gives a stirring performance.  The shock, anger, and disbelief of what’s happening to him in his country, and going through the drama not knowing whether his wife has been caught and sent back – is crucial to building the suspense.

Enoch’s character has no idea that his wife has made it to the underground where a group of revolutionaries is planning their next move. 

The scary part about Executive Order is that the movie doesn't feel so far-fetched. It is totally believable.

Ethnic cleansing is not a crazy idea in the least.

The film, directed by Lazaro Ramos, stars Alfred Enoch, Tais Araujo, Seu Jorge, Adirana Esteves, Renata Sorrah,

On the DONLOE SCALE, D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), 'Executive Order' gets an L (likable).