Bryden Doyle | Contributor
Featured Image: At TIFF Bell Lightbox, a Skype Q&A with Premature director/co-writer Rashaad Ernesto Green (left) and star/co-writer Zora Howard (right). | Courtesy of Bryden Doyle
After TIFF Next Wave screened Rashaad Ernesto Green’s Premature, Green and star/co-writer Zora Howard appeared via Skype at the TIFF Bell Lightbox to discuss the film.
Premature is a New York love story about two young African-Americans. “We felt like there were a lot of films that dealt with Black pain, suffering, victimization, and fear. We wanted to contribute something on the other side of that equation,” stated Green.
Premature is the kind of underrated work that grows in estimation upon further reflection. It’s not without its imperfections, including some unnecessary third-act drama. There’s also much to admire in Green’s sensitive direction, the keenly observed dialogue, and Howard’s heartfelt lead performance.
Howard stars as Ayanna, a 17-year-old from Harlem spending her last summer before university hanging out with friends and writing poetry. One day, she meets Isaiah (Joshua Boone), the slightly older cousin of a mutual acquaintance. Though initially wary of his charismatic persona, Ayanna quickly becomes enamored as they bond over their artistic aspirations – writing for her, music for him – and as he expresses genuine care for her thoughts and interests.
In the courtship scenes, Green is effective in subtly showing the strengthening of this emotional connection. For Ayanna and Isaiah’s first date, Director of Photography Laura Valladao initially films the couple in a wide shot. When Isaiah asks Ayanna a question about her own interests, the film cuts to a close-up of Ayanna’s face to convey how this personal question cuts through her stoicism.
Howard makes Ayanna’s emotional restraint riveting to watch. Even when they’re happy, Howard always keeps their guard up. When Ayanna and Isaiah first lock eyes, Howard purses her lips while smiling, masking her vulnerability.
When Ayanna and Isaiah first have sex, she self-consciously covers her chest. Later, when staring at her own reflection in Isaiah’s bathroom mirror, Howard portrays Ayanna as genuinely nervous before rubbing her face, as if to regain her composure and put on a brave expression for him.
Premature is at its loveliest when simply observing these characters in their everyday interactions. Green and Howard have strong ears for dialogue in the freewheeling hangout scenes.
For instance, when Isaiah caps off an earnest speech by dramatically snapping his fingers, one of his friends calls him out for how rehearsed the gesture seems and the rest of the group erupts into laughter. There are also some strikingly specific details that one doesn’t often see in films today, like a throwaway shot of Ayanna brushing her braids with a toothbrush.
When Ayanna and Isaiah face their inevitable conflict and separation period, Premature loses momentum as characters go through the motions of plot. The film’s treatment of Isaiah is also questionable. At times, his kindness isn’t as convincing as the film intends. When he reads Ayanna’s journal without her permission, the film justifies this invasion of privacy by having him encourage her “lyrical” artistic expression, which ends up playing a significant role in the film’s ending.
That said, what lingers most are the many scenes in which we get to enjoy the company of these characters. At one point, Isaiah discusses the importance of enjoying life’s little moments before they end. That’s the way to enjoy Premature – by embracing its little moments.
