We meet Angel in the apartment of Nicole (Rachel Griffiths) and her husband Henry (Denis O'Hare). It isn't quite clear what the relationship between Angel and the couple is, but we know he's been invited to sleep over. Only later do we realize that Nicole is Angel's generous social worker, and he has nowhere else to go. Henry is not pleased by the arrangement but tries to engage Angel, with little success. They're from different planets.
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So can he end the war in the course of a 90-minute movie? Brother to Brother tackles so many issues that there's no way Perry will find all his answers, but he does make a good start with the help of the elderly Bruce Nugent (Roger Robinson), a minor figure in the Harlem Renaissance whom Perry encounters on the street and later at the shelter. Nugent, who's also gay, takes Perry back to the days of wild Harlem through a series of black-and-white flashbacks. It's there that we meet the young Bruce (Duane Boutte) along with the superstars of the era: Langston Hughes (Daniel Sunjata), Zora Neale Hurston (Aunjanue Ellis), and Wallace Thurman (Ray Ford). By listening to Nugent's stories, Perry realizes that all the prejudices he's fighting -- black vs. white, gay vs. straight, light-skinned vs. dark-skinned -- are nothing new.
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Three close friends, Lanisha (Kerry Washington), Maria (Melissa Martinez) and Jocelyn (Anna Simpson), listen to their favorite song on the radio ("Ooh, child... things are gonna get easier... we'll walk in the rays of a beautiful sun") and wonder what the future has in store. As they go through their routines of shoplifting, flirting, grabbing a slice, or making plans to catch a movie, their relationships inevitably change as young friendships always do. McKay is well serviced by superb cinematographer Jim Denault (Boys Don't Cry), who knows how to frame subtle moments with unobtrusive grace.
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So what is Spring Forward? Simply put, Spring Forward is unique. It is not unique in the sense of Being John Malkovich or Spectres of the Spectrum (a uniqueness tainted with the surreal), but instead unique in the point of fact that it a movie that has no plot, that has no centralized point or purpose... that has nothing but characters. The characters are Murph (Ned Beatty) and Paul (Schreiber), two city parks department workers in Connecticut who spend one year talking while on the job.
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