Color Book
**Seen at the 2025 Atlanta Film Festival
A film like “Color Book” is so resolutely about the connections between people that it’s almost foolish to try and subscribe any other read on what it is, or is not, trying to do. David Fortune’s drama puts us into two days in the life of Lucky (William Catlett), a newly-widowed father, and Mason (Jeremiah Alexander Daniels), his young son with Down Syndrome. This is but a snapshot of what their life will be like moving forward, and it points to an unshakable bond of a father to a son, but also a difficult road ahead, as he transitions into being the only caregiver.
One of the most compelling elements of the dynamic between Lucky and Mason is that, even though he can seem a bit abrasive with Mason in his tone, we never question his love for his son. That is a very thin tightrope to navigate, and Fortune and Catlett do so beautifully in this film. As we watch the film unfold, we see flashbacks of Tammy (Brandee Evans) with Mason and how she seemed to have a patience with him that does not come easily with Lucky. When we see Lucky try to do similar activities with Mason, there is a feeling of him trying to be patient, but sometimes he isn’t able to. This will be especially important when Mason wants to have a balloon with him as they try to make it to a baseball game.
In talking to Fortune before the film, he said that he wanted to tell the story of a Black father and son, but what I kept thinking about was myself and my mother. My father passed away unexpectedly in 2013 from heart issues, leaving just my mother and I. She passed away in late March. One of the things I’m realizing as I think back to being her caregiver after she had both dementia and cancer come into the equation is that I was her caregiver for longer than just her health became a serious issue; in a sense, I became her caregiver when dad died. One of the things I had to help out with was making sure that the bills all got paid, as that was his domain, and eventually, made sure she got to doctor’s appointments and had groceries. Even at 36, an overwhelming responsibility for a son whose life was pulling him in its own directions. Eventually, I found my footing, and achieved the balance needed to take care of her, as well as being a husband with a full-time job, and being a full-time critic and podcaster. Lucky is at that first part of the journey with Mason, and one of the things I love about “Color Book” is how we’re left thinking that- even if he hits some bumps along the way- Lucky will find his way.
Fortune also mentioned that, more so than films, photojournalism seemed to inspire him in the making of “Color Book” (though he did also mention Ozu). That is very evident in the black-and-white cinematography by Nikolaus Summerer, and the deliberate pacing in the work of editor Oriana Soddu, and especially at a scene where Lucky and Mason go to a junkyard after they’ve purchased an inexpensive car for themselves. They’re here to get items from the wrecked car Tammy was driving. We are never, explicitly told that this is how she died, but the way Fortune and Summerer shoot this moment, and he and Soddu edit this scene, we get the full picture. It is an impactful scene that lingers with us, and is matched at a moment later where Lucky and Mason are briefly separated, and their ability to continue on to their destination is dependant on the understanding of one Black man to another.
This is just a beautiful film. Beautifully filmed, beautifully written, beautifully acted and beautifully realized. It was an experience I really needed at this moment.
