Working with his regular cinematographer, Patrice Lucien Cochet, Webber grounds the film in the urban setting while capturing a sense of political and personal churn. As WebberвЂ™s onscreen persona watches the people around him, seeing the generational patterns and cycles with new clarity, he gradually becomes charged with a hunger or discontent that could morph into purpose - a shift that the film doesnвЂ™t reduce to neat lessons. The disconnect between Mark and some of his old friends plays out with dry, matter-of-fact humor, but estrangement in many forms clearly is weighing on him. Without undue emphasis, he lets the yearning, optimism and disappointment of MarkвЂ™s post-prison days accumulate. As he does throughout the film (and as he did with his 2-year-old son in The End of Love), Webber harnesses the natural dynamics of offscreen bonds, however strong or frayed they may be. The man who was a baseball-bat-wielding monster in CheriвЂ™s recollections is now a soft-spoken man of 60, living in the suburbs and seriously ill. WebberвЂ™s real-life dad plays himself, in a screen sequence that was, according to press notes, only their second meeting in more than 30 years. But itвЂ™s another encounter, followed by a crucial ellipsis and epilogue, that gives the story its dramatic shape: MarkвЂ™s reunion with his father. Mark confides in the stripper (Victoria Cheatom) whoвЂ™s вЂњgiftedвЂќ to him by his friends that he might still be in love with Maddy (Madeline Brewer), who didnвЂ™t wait for him.ДЇBI Director James Comey Cancels SXSW AppearanceДЄ later scene between the former lovers has an unfussy poignancy, alive with regret and searching silences while MaddyвЂ™s baby squirms on her lap and a house cat sidles up to Mark. She details the domestic abuse of her childhood, her difficult relationship with MarkвЂ™s heroin-addicted dad, her homelessness as a single parent. Webber and editor Sven Pape deftly intercut her interview for GuillermoвЂ™s doc with MarkвЂ™s awkward navigation of a welcome-home party thrown by his friends.

To call it a running gag would be overstating the matter, but the pleasure he takes in saying вЂњCut!вЂќ is a prime example of the unforced humor in Flesh and Blood.ДЄddressing GuillermoвЂ™s camera, Cheri sugarcoats nothing about her difficult history - no surprise, given the litany of social and political challenges with which she greets Mark upon his return from prison. He turns it on himself to record thoughts and commentary for his documentary-in-the-making. missed most of his sonвЂ™s childhood because of addiction and incarceration.ДЄs an instrument of self-expression and self-assertion, the camera is an extension of GuillermoвЂ™s cheerfully geeky resilience. When Mark buys the aspiring filmmaker a camera, Guillermo gets busy interviewing his brother and mother, as well as the raspy-voiced father (also named Guillermo) whose charm is as evident as his troubles. When he explains PlatoвЂ™s Cave to his older brother, Mark beams with understated delight. Hyperintelligent, witty and a self-described nerd, the teen is coming to terms with his recent diagnosis of AspergerвЂ™s, after withstanding years of other kidsвЂ™ bullying, some of it violent. Mark has a lifetime of issues to hash out with Cheri, but his affection toward 13-year-old Guillermo is pure and uncomplicated in its protectiveness.

(As writer and helmer, Webber uses flashbacks with notable restraint and effectiveness.) Back in Philadelphia with his activist mother and teenage half-brother (Guillermo Santos), heвЂ™s sober, has learned to meditate and maintains a studied, hopeful calm, though sounds of prison disturb his sleep and temptation is never far. The story kicks off as WebberвЂ™s character, Mark, is released from prison after five years his crime is never discussed, but a quick jab of a flashback reveals a beating he inflicted while under the influence. SXSW: Cory Booker Doesn't Rule Out Presidential Run

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