We grown now

We Grown Now, directed by Minhal Baig, is an exploration of childhood, friendship and the harsh realities of life in Chicago's Cabrini-Green neighborhood in 1992. Minhal Baig's direction, known for her delicate observational style, draws viewers into a world where the innocence of youth is juxtaposed with the socio-economic challenges of a community struggling under the weight of systemic neglect. The film is a poignant reminder of the resilience of the human spirit, particularly in the face of adversity, and tells a story that is as much about place as it is about the people who inhabit it.

Minhal Baig's narrative approach is refreshingly intimate, much like her previous work in Hala (2019), where she focused on the daily life of a young Muslim girl. In We Grown Now, Minhal Baig continues this trend, focusing on the quiet moments that define the lives of her protagonists, Malik, played by Blake Cameron James, and Eric, played by Gian Knight Ramirez. The film opens with the boys dragging an old mattress up the stairs of their Cabrini-Green apartment building, an image that sums up the essence of their world - a place where imagination and play coexist with the harsh realities of their surroundings.

The year is 1992, a time of great upheaval in Cabrini-Green, which has become infamous for its high crime rate and deteriorating living conditions. Yet Minhal Baig resists the urge to portray the housing project solely as a place of despair. Instead, she captures the dynamism of the community, the warmth of its inhabitants and the rich, textured life that exists within its walls. This approach sets We Grown Now apart from other narratives that often reduce these environments to mere backdrops for stories of violence and poverty. Minhal Baig's Cabrini-Green is a fully realized world, where the beauty of childhood innocence is in constant conflict with the harshness of the adult world.

Blake Cameron James as Malik and Gian Knight Ramirez as Eric are simply extraordinary in their roles. Their performances are marked by a naturalism that is rare for actors of their age. James, in particular, brings a quiet strength to Malik, a boy who is both dreamer and realist, navigating the complexities of his world with a wisdom beyond his years. Ramirez's Eric, more reserved and introspective, serves as the perfect counterpoint to Malik's more extroverted nature. Together, they create a dynamic that is both heartwarming and deeply moving, embodying the essence of childhood friendship in all its forms.

These young actors are supported by an exceptional cast of seasoned performers who bring depth and nuance to their roles. Jurnee Smollett, as Malik's mother Dolores, delivers a performance that is both powerful and poignant. Dolores is a woman caught between the demands of her job and the needs of her family, a theme that resonates throughout the film. Smollett captures the quiet desperation of a mother trying to provide for her children in an environment that offers her little in return. Her interactions with S. Epatha Merkerson, who plays Malik's grandmother Anita, are among the film's most compelling moments. Merkerson brings a sense of history and resilience to Anita, a woman who has endured her share of hardships but remains a pillar of strength for her family.

The film's narrative is deeply tied to its setting, and Minhal Baig's depiction of Cabrini-Green is both unflinching and loving. She doesn't shy away from showing the difficulties that come with living in such a place - the random police raids, the constant threat of violence and the systemic neglect that permeates the lives of its inhabitants. Yet Minhal Baig also finds moments of beauty and joy in this environment, whether through the boys' imaginative play or the small acts of kindness shared between neighbors. This duality is at the heart of the film's strength, as it refuses to simplify or romanticize the realities of life in Cabrini-Green.

A particularly powerful element of the film is its exploration of migration, both physical and emotional. This theme is particularly evident in Anita's narratives, as she recounts her journey from the segregated South to Chicago, in search of a better life. Her stories are echoed in Malik's fascination with a painting at the Art Institute of Chicago, which depicts a train station divided by race. These moments recall the ongoing struggle for freedom and mobility, a struggle that is passed down from generation to generation.

The film's music, composed by Jay Wadley, plays a crucial role in reinforcing the emotional depth of the story. Wadley's music, rich in melancholy strings, underscores themes of loss and longing, while capturing the fleeting moments of joy that punctuate the boys' lives. The score, like the film's cinematography by Pat Scola, is imbued with nostalgia, evoking the warmth and tenderness of childhood memories while acknowledging the difficulties faced by the characters.

One of the film's most memorable scenes takes place when Malik and Eric skip school to visit the Art Institute of Chicago. This beautifully shot, deeply resonant sequence captures the boys' wonder as they explore the museum's galleries. It's a moment of escape, literally and figuratively, as the boys temporarily leave the confines of Cabrini-Green to immerse themselves in a world of art and possibility. This scene is emblematic of Minhal Baig's ability to find poetry in the everyday, transforming a simple act of truancy into a profound exploration of the boys' inner lives.

Despite its many strengths, We Grown Now is not without its flaws. There are moments when the dialogue seems overly didactic, particularly in scenes where the characters articulate the film's themes in a way that seems more suited to an adult's point of view than a child's. This is particularly evident in scenes where Malik and Eric discuss existential issues, or when they shout “I exist! We exist!” from the rooftops - lines that, while powerful, can seem overly self-aware. But these moments don't detract from the overall impact of the film, which remains a deeply moving portrait of childhood in the face of adversity.

Jurnee Smollett's performance as Dolores is particularly noteworthy for its subtlety and depth. She portrays a woman who is both strong and vulnerable, facing the challenges of raising her children in an environment that constantly tests her resolve. Her relationship with Malik is at the heart of the film, and the scenes they spend together are imbued with a quiet intensity that speaks volumes about the pressures faced by single mothers. S. Epatha Merkerson, as Anita, provides a counterpoint to Dolores' struggles, offering wisdom and support drawn from her own experience. S. Epatha Merkerson's portrayal of Anita is one of the film's strong points, bringing a sense of history and continuity to the story.

The film's conclusion, though inevitable, is handled with great care by Minhal Baig. As Dolores makes the difficult decision to move her family from Cabrini-Green, the film captures the bittersweet nature of this transition. The move represents both an escape from a dangerous environment and a painful separation from the community that has been their home. This tension is reflected in the final interactions between Malik and Eric, who are confronted with the reality of their impending separation. The film ends on a note of ambiguity, leaving the future of these characters open to interpretation, but with a sense of hope that they will carry the strength of their friendship with them into whatever lies ahead.

We Grown Now is a beautifully crafted film that offers a nuanced and deeply human portrayal of life in Cabrini-Green. Minhal Baig's direction, combined with outstanding performances from Blake Cameron James, Gian Knight Ramirez, Jurnee Smollett and S. Epatha Merkerson, creates a film that is both emotional and visually stunning. The exploration of childhood, friendship and the impact of socio-economic factors on personal development is handled with sensitivity and insight, making We Grown Now a remarkable addition to the coming-of-age genre. It's a film that stays with you long after the credits roll, a testament to the enduring power of storytelling rooted in compassion and authenticity.

We grown now
Written and directed by Minhal Baig
Produced by Joe Pirro & Minhal Baig
Starring Blake Cameron James, Gian Knight Ramirez, S. Epatha Merkerson, Lil Rei Howery, Jurnee Smollett
Music: Jay Wadley
Director of photography: Pat Scola
Editing: Stephanie Filo
Production companies: Participant, Symbolic Exchange, Stage 6 Films
Distributed by Sony Pictures Classics, Stage 6 Films (USA)
Release date: April 19, 2024 (U.S.)
Running time: 93 minutes

Seen on September 8, 2024 at the Deauville International Center

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