In Right Near the Beach, Jeffrey Jacobs, Jamaica’s world record breaking sprinter is beaten to death near his home. His murder sparks a frenzy of media coverage that digs into his friendship with a gay man. Jeffrey’s single father becomes a social pariah because of the reaction to his son’s death, living alone in the hills. It’s only when his youngest son returns that he is given a chance to transcend his isolation and grief.
Right Near the Beach tells its story effectively through the images and sounds it presents. Firstly, the film develops Terrence Malick’s visual style to create a more visceral feeling. Right Near the Beach still has the trademark wandering camera and meditative shots familiar to Malick’s films, but adds a varying shot length to better convey the varying emotions Jeffrey’s dad feels.
For most of the film, the average spot length feels longer than your typical Hollywood film. This gives the audience more time to watch the characters as they wander in rural Jamaica alone, allowing us to feel their search for inner peace. However, for a few key scenes, the emotional toll of the media and neighborhood gossip is too much for them and they release their frustration in sin scenes with frantically fast cutting. The quick shots that rapidly cut around Jeffrey’s dad when he starts axing a tree root creates an urgent feeling of blind rage that contrasts with the otherwise relaxed feelings generated by the longer shots. It’s one example of how the filmmakers brilliantly use shot lengths to change the feelings of each scene.
Secondly, the sound of Right Near the Beach provides the foundation for the visual experimentation. In the first half of the film, the soundtrack is dominated by a constant stream of radio show interviews with people discussing Jeffrey Jacobs’ homosexuality. The real homophobia you hear on air (these interviews were conducted with real Jamaicans) penetrates the silence of the rural area Jeffrey’s father lives. What he hears forces him deeper into isolation just to try and silence the country’s prejudice. This changes in the second half of the film, when the prejudiced voices that plague him start to ease after his youngest son’s arrival. They’re replaced by more natural sounds from the rural environment they live in, marking his successful coming to terms with his eldest son’s death. It’s as if he’s managed to meditate away the hateful media and replace it with a calm peace of mind. Just as the visceral visual style builds emotions, the sounds we hear guide us through Jeffrey’s dad’s grief.
To take the film full circle, the filmmakers end the film with the reunion of the dad and his youngest son. It’s a touching end to an emotional film that shows they have both transcended the deaths of their brother/son and mother/wife.
Right Near the Beach manages to accomplish a lot. Firstly, the editing and cinematography work incredibly well with the soundscape to depict the character’s raw emotion and path to overcoming their grief. Secondly, the full circle script gives the film a spiritual completeness that many films fail to achieve. But, that’s not all. Right Near the Beach also touches on the prejudice in Jamaica and how the country is largely overlooked internationally except for beaches and running (hence the ironic title). I’m excited to see more from these filmmakers.
Head to our Pan African Film Festival Hub for more reviews from PAFF 2020.
Lucia is stylish and progressive. It mixes quick cutting montages and hand-held cameras into it’s three parts which all feature women. For a film that charts the evolution of the revolutionary consciousness in Cuba from Spanish Imperialism to after the Cuban revolution, check out Lucia!
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