RaMell Ross, acclaimed for his groundbreaking 2018 documentary Hale County This Morning, This Evening, has made his bold narrative directorial debut with Nickel Boys, an adaptation of Colson Whitehead’s Pulitzer Prize-winning novel. The film, which premiered at Telluride Film Festival on Friday night in the Herzog Theatre, has sparked polarized reactions. While many found the film deeply moving, others were left less convinced, casting some uncertainty over its chances in the upcoming awards season.
Ross, at just 42, co-wrote the screenplay with his Hale County producer Joslyn Barnes. Known for his poetic, non-linear approach to filmmaking, Ross has brought his unique vision to Nickel Boys, a story set in the 1960s at the Nickel Academy, a fictionalized version of a real-life reform school in Florida notorious for its brutal treatment of Black children. The film focuses on Elwood (Ethan Herisse) and Turner (Brandon Wilson), two young Black boys who become entangled in the Academy’s cruel system. Elwood, a hopeful first-time inmate punished for being in the wrong place at the wrong time, and Turner, a repeat offender hardened by the school’s dehumanizing methods, form an uneasy bond as they navigate the horrors of the academy.
The film’s narrative, steeped in the broader context of the civil rights struggle, is raw and unflinching in its portrayal of the systemic racism and brutality of the era. Yet, the approach Ross takes is highly unconventional, much like his previous work. With cinematography by Jomo Fray, Nickel Boys features hauntingly beautiful visuals that evoke the style of filmmakers like Terrence Malick, whose artistic flair has long been praised by critics but has not always resonated with mainstream audiences or the Academy. The use of abstract, impressionistic imagery — including frequent focus on inanimate objects and subjective camera angles — lends the film a deeply meditative tone that may intrigue cinematographers but could alienate other viewers.
Fray’s work in particular stands out for its creative use of point-of-view shots, at times giving the impression that the audience is seeing events through the eyes of a disembodied character. This technique, reminiscent of 1947’s Lady in the Lake, has the effect of pulling viewers into the emotional core of the story, but it also challenges traditional narrative expectations by often withholding the faces of key characters during crucial moments.
The editing by Nicholas Monsour further contributes to the film’s avant-garde sensibility. His decision to splice montages of seemingly unrelated footage into the primary narrative adds a layer of complexity to the film. For some, these moments of abstraction heighten the emotional impact and draw thematic connections. However, others may find the structure disorienting, especially as the film stretches to a considerable runtime of two hours and 20 minutes, making it feel even longer due to its slow, deliberate pacing and relentlessly somber tone.
While Nickel Boys is primarily driven by its two young male leads, it is Aunjanue Ellis-Taylor, as Elwood’s grandmother, who steals the show. Known for her standout performances in When They See Us, King Richard, and Origin, Ellis-Taylor brings warmth and depth to the film. One of the film’s most emotionally charged scenes sees her attempting to visit Elwood at the academy, her quiet dignity and fierce love offering a brief respite from the harshness of the narrative. Her performance may be the key that resonates with Oscar voters, particularly in the supporting actress category.
Produced by Plan B’s Dede Gardner and Jeremy Kleiner, both of whom have a track record of backing critically acclaimed films like Moonlight, Nickel Boys has the pedigree and star power to make waves during awards season. However, its unconventional style, challenging themes, and emotionally devastating narrative may limit its appeal to certain voting blocs. The film will likely split Academy voters, much as it has already divided festival audiences, with some embracing its artistic ambition and others finding it too emotionally and stylistically distant.
Nickel Boys is slated to open the New York Film Festival on September 27, followed by a limited theatrical release starting October 25 before it becomes available for streaming on Amazon. As the film continues its journey, it will be fascinating to see how both critics and audiences respond to Ross’ deeply personal and experimental take on Whitehead’s story — and whether it can secure a place among the top contenders in this year’s Oscar race.
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