The little stories around racism, intolerance and the grimy human capacity to inject hatred are the ones that best demonstrate the leader’s ability to agglutinate barbarism in the redoubts that suit him best: where hopelessness, crisis, fury and ignorance is rampant. Burden, Based on a true story that occurred in a town in South Carolina in 1996, it approaches those people who, individually, are hardly anyone, but who as a group make up both the germ of violence and the most dangerous of the packs, which they become strong from hatred of the other. A small group of ragged, cannon fodder, led by a local caudillo with a certain verbiage, who has the peculiar idea of opening a Ku Klux Klan museum, including a shop, in an abandoned but emblematic place of the town: the old cinema, with a long history of segregation.
Andrew Heckler, with a unique professional career – fifth-rank actor in film and television between 1994 and 2003, no credits are known to him during the subsequent 15 years, until this his debut as a screenwriter and director -, he seems to have turned what he lived and felt into his debut film. ruminated for years around cliques of white supremacism. And unfortunately, we are not facing a history of the past, but very present: it is not difficult to see in the faces, the attitudes and the looks of the men of the clan those who caused recent disturbances in various populations of the United States. , for some of the phrases of contempt resonate with overwhelming topicality in too many parts of the world: niggas, always eating from public aid ”.
Has the account of Burden two well differentiated parts. First, the portrait of the protagonist’s training, a kind of short-tempered dog not too savvy, trained to become an attack pitbull, and his meeting with a woman who, based on love and loyalty, will change his ideas. until he is separated from the band. And second, that of the couple’s encounter with the other side of the trench of phobia and the Confederate flag: the family and religious parish of a pacifist black reverend.
The first half is interesting, well developed, and even beautiful to view. However, in the second part of the story, initiated by an incomprehensible phase of poverty, the easy brush strokes accumulate. Of more less, Burden It ends up being too thick in the construction of its conflicts and in the channeling of its redemptions.