Summertime: A Review

by Harry Magid

Note, because I’ve had to explain this wayyy too many times to wayyy too many people: This is not the Netflix series Summertime. This is not the 1955 film Summertime. I am not misremembering the title of Midsommar. This is the 2021 film Summertime. Thank you.

Summertime 

a review by Harry Magid

Every city has a film that represents and encapsulates it, and for a city as vast, dynamic, and diverse as Los Angeles, the list of films that do just that is endless. From Michael Mann’s crime epic Heat and William Friedkin’s To Live and Die in L.A., to Billy Wilder’s classic Sunset Boulevard and David Lynch’s Mulholland Drive, with films such as Magnolia, Chinatown, Boyz N The Hood, Jackie Brown, Southland Tales (a misunderstood masterpiece, if I do say so myself), L.A. Confidential, Drive, Inherent Vice, Under the Silver Lake, and even the trashterpiece Rollergator to boot– the discussion around the “quintessential L.A. movie” persists. Is there a definitive answer? If there is such a film that perfectly captures Los Angeles, either in grounded or fantastical form (or a mixture of both), in all its multicultural glory, then that film is Summertime; a film so vibrant, energetic, fantastical, and full of heart while losing none of the atmosphere that makes L.A. so unique.

Summertime is a passion project put together by director Carlos López Estrada (Blindspotting, Raya and the Last Dragon), executive producer and actress Kelly Marie Tran (Star Wars VIII & IX, Raya and the Last Dragon), and the Los Angeles-based poetry troupe, Get Lit. The film follows no less than 27 of these poets as they embark on their own adventures throughout a single day in (you guessed it) Los Angeles. Anthology films or films that episodically alternate focus between multiple characters always run the risk of being more engaging in some parts than in others. But much like Magnolia, Summertime’s momentum only increases as it barrels full steam ahead towards its beautiful, cathartic climax. It’s a hilarious, sweet, and life-affirming film that juggles so many unique and often outlandish intertwining stories while being unafraid to tackle serious topics and issues (e.g. hate, stereotypes, the effects of bullying, and the LAPD’s abuse of power, to name a few). It achieves all this and more while never feeling unsure in its tone or narratively or thematically jumbled; it’s a masterful balancing act in every sense of the word.

Estrada, with his unique directorial style, films L.A. through a grounded but magical lens, and even after only two live-action feature films, I think it’s clear that he’s one of the best and most exciting new filmmakers working today. The transitions from one character and story to the next are so satisfying to watch, and he seamlessly incorporates fantastical elements into what would likely have been a mundane story in another filmmaker’s hands. However, the team behind Summertime has emphasized time and time again that this was a group effort, but with a movie this perfect, it’s hard not to fixate on every individual aspect. John Schmidt’s cinematography is striking, giving the film a vibrant aesthetic where every color really pops, and the handheld approach to the camerawork– which is, admittedly, way overused in films today and ran the risk of being annoying in this one– works unbelievably well in creating a realistic tone that grounds the film, its characters, and fantastical elements without being distracting or obtrusive. The dance scene that happens at around the halfway point of the film and features about 20 women in red dresses surrounding a cat-calling man in a car is exquisitely shot and choreographed, and it takes my breath away every time I see it. It’s one of the (many) highlights of the film, for sure. John W. Snyder’s score couldn’t be more perfect, and some tracks feel so different from others (but fit the film equally well) that it’s almost like there were multiple composers on this. But according to the credits, Snyder was the only composer. It’s a crime that the soundtrack isn’t streaming anywhere.

I’m trying to steer clear of spoilers, so hopefully this isn’t one: One of my favorite scenes in the film is a quick montage of several characters riding through L.A. in a limo, and what I love about this scene is that the filmmakers don’t focus on the landmarks that L.A. is known for, but instead on minor landmarks, business, and streets that I didn’t even know existed. Even though I’ve loved Summertime since the first time I saw it, I was slightly disappointed at first that some of the L.A. landmarks I’m familiar with and/or live near weren’t included. But now, I realize that I just missed the point, and I appreciate Summertime that much more.

All the performances are phenomenal. There isn’t a false note from a single actor, which is impressive since each of the 27 poets gets their due time in the spotlight. Each one of them plays themselves, or at least, a caricature of themselves, and they’re all buzzing with charisma. The countless monologues in prose recited are all riveting, and the performances deserve most of the credit for that (even though the poetry on its own is funny, beautiful, and at times, heartwrenching). Each of these actors is a born star… which is why it surprises and saddens me that neither this film nor its performers have achieved much notoriety (that I’m aware of) since the release of the film.

During the 2021-22 awards season, I didn’t see a single mention of Summertime or anyone involved in the making of this beautiful film, and the only place I still see people talking about it is in recent reviews on the film’s Letterboxd page (and still, there aren’t that many reviews written that often). I recommend Summertime to people as often as I possibly can and have run my mouth about it endlessly on social media, all, seemingly, to no avail. While Summertime is likely not to everyone’s tastes, the usual terms thrown around in bad reviews of films similar to this, like “pretentious” or “saccharine,” are not terms that I could see anyone in their right mind applying to this gem of a film. It’s a flat-out masterpiece.

Summertime is available to stream on Kanopy (for free!!!) and Starz, and available to buy or rent wherever you buy or rent movies. Trust me, it’s worth it.