As a film enthusiast with a deep appreciation for culturally immersive and character-driven dramas, I found “Hier.Na” to be a compelling and relatable watch. Quanita Adams, having already demonstrated her acting chops across various projects, has now proven herself as a formidable director with this feature film debut. Her ability to coax stellar performances from her ensemble is nothing short of impressive.
The parallels between “Hier.Na” and “Barakat”, both written by women and featuring strong female leads, are intriguing. While they share similarities in terms of setting, characters, and ensemble, “Hier.Na” takes a darker turn with the funeral as its central point. This twist offers an eye-opening exploration of customs and traditions for those outside the faith while keeping the drama curious and layered.
However, the stakes could have been higher in “Hier.Na”. While the performances are solid and the cultural immersion is authentic, the emotional investment falls short due to a lack of connection between characters. Eric’s character, played by David Isaacs, serves as a sort of ringmaster, reminiscent of Jason Bateman in “Arrested Development”, but without enough points of identification for true emotional involvement.
In essence, “Hier.Na” is a respectable film that gently touches on themes without overpowering audiences. It’s a safe and predictable drama that will appeal to those wanting to see stories from underrepresented communities. But like Juliegha trying to navigate her family’s discord while making funeral arrangements, “Hier.Na” finds itself stuck in the middle ground, not quite as wildly entertaining as “Mother!” nor as heartfelt as “After Life”.
To lighten things up a bit, I’d say watching “Hier.Na” is like attending a Muslim funeral – it’s solemn, somewhat predictable, but you leave with a newfound understanding and appreciation for the culture.
A compelling ensemble drama offers captivating performances, likable characters, and an intriguing exploration of culture, making it both respectable and straightforward.
In the future, or henceforth, “Hier.Na” is a drama that revolves around a multi-cultural family who struggle to uphold their Muslim traditions amidst years of strife. The unexpected demise of the non-practicing mother sets the stage for her online gaming son, medical student daughter, and husband to organize the funeral. However, when Julie’s mother rushes in to ensure a pre-sunset burial, the Burgess family are thrown into chaos as they come to terms with her death and attempt to honor customs simultaneously.
This motion picture is created by actress-turned-director Quanita Adams, who has amassed over 40 acting roles in films and TV series. In recent times, she’s shifted her focus more towards creative work behind the scenes, leading up to this, her first feature film following the TV movie titled “Swirl“. Her extensive experience is evident as she skillfully draws out remarkable performances from her cast and collaborates effectively on both sides of the camera.
After appearing in the film “Barakat”, it’s evident that her role might have motivated or driven her further towards “Hier.Na”. The movie “Barakat” is a production by Amy Jephta, both written and directed, which focuses on a matriarch’s endeavor to unite her fractured family during Eid-al-Fitr to share some unexpected news. This film blends elements of comedy and drama, revolving around the primary residence, and offers an engaging insight into the cultural and religious practices of a suburban Muslim family.
In comparison to each other, Barakat and Hier.Na share common elements such as setting, characters, and a rich ensemble. However, they diverge significantly in the context of a funeral. This tradition, often unfamiliar to those outside the faith, creates a unique backdrop that infuses the narrative with a touch of dark humor as it progresses. As the story unfolds, Hier.Na keeps audiences engaged by presenting characters who are grieving, trying to understand the arrangements, and saying goodbye to their mother. These complex individuals struggle to come to terms with their loss in distinct ways, adding depth to the narrative.
“I suppose you’re wondering why I called this meeting…”
Featuring Quanita Adams, David Isaacs, and June van Merch in key positions ensures that the show “Hier.Na” stays relevant. Similarly to Ricky Gervais’ series “After Life“, Adams quickly endears audiences with her portrayal of Juliegha/Julie, a character who is adored as a daughter, mother, and wife. This aspect is crucial to “Hier.Na” since she ultimately fills the missing piece in the storyline.
In this scenario, Isaac is tasked with playing the role of a conflicted and inexperienced character named Eric, while Julie’s mother dominates with another intense portrayal from van Merch. The cast is expansive, giving less focus to Shiefaa Hendricks, Lyle October, and Emile Smit, but their balanced performances provide depth and significance. This large group of characters lends a relatable and communal aspect to the story, making it feel alive on screen.
Although Hier.Na adheres to the rule of burying before sunset, the tension doesn’t quite reach its peak. The film skillfully portrays a sense of cinematography as it explores the discomfort of a family home filled with numerous individuals. The acting is commendable, and the cultural exploration feels genuine and personal, as the unfolding drama is observed like a fly on the wall. However, the true struggle lies within internal conflicts, which subtly boil beneath various distractions.
It might have been more effective for the storyline of “Hier.Na” if it delved deeper into the struggles and dynamics within the nuclear family, creating both character depth and dramatic tension. Although Eric’s role is reminiscent of Jason Bateman in “Arrested Development“, with a compelling performance by Isaacs, there seems to be a lack of relatable moments that would prompt genuine emotional attachment from viewers.
In the third act, brief instances hint at untapped emotional depth, but could have been more impactful with stronger character connections. The script for this home invasion film doesn’t fully exploit its comedic potential to deliver a heartfelt viewing experience. At the same time, it stops short of becoming as wildly absurd as movies like “Mother!”. Instead, “Hier.Na” delicately explores themes without overwhelming viewers.
Maintaining a balance of respectful portrayal restricts Hier.Na to predictable and secure settings, but it’s understandable that some viewers will appreciate a story from an underrepresented community. By validating the market for this drama, we can broaden perspectives and create additional opportunities. However, the cost is limiting this competent drama to a more conventional realm.
The bottom line: Respectable
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2024-12-29 09:46