“Jimmy” Channels James Baldwin’s Haunted Spirit

The new film “Jimmy,” directed by Yashaddai Owens, is a meandering cinematic journey through Europe that seeks to capture the essence of author and activist James Baldwin. At first glance, it may seem like an unusual choice to approach Baldwin’s life and work in such an impressionistic way, but Owens’ thoughtful pacing creates a meditative experience that captures the complexity of Baldwin’s presence.

Baldwin’s story has long been overdue for more nuanced attention from Hollywood. As actor Billy Porter noted in his 2024 Guardian interview about directing a biopic, “Who’s going to tell it better than the Black gay man who embodies that?” Owens’ film, however, is not a traditional biographical account. Instead, “Jimmy” feels like an attempt to channel Baldwin’s spirit, capturing the essence of his experiences and emotions.

The film’s strongest moments are those where Baldwin’s presence shines through without explicit narrative or dialogue. Owens’ use of monochrome 16mm footage creates a dreamlike atmosphere that immerses the viewer in Baldwin’s world. The camera assumes his gaze as we wander through Istanbul, observing the bustling streets and dusty rural paths alongside him.

The cinematography is complemented by Paco Andreo’s jazz score, which adds to the film’s otherworldly quality. This fusion of Owens’ photographic eye and Andreo’s sonic landscape creates a rich atmosphere that conveys Baldwin’s individual perspective without needing explicit narration or characterization.

As “Jimmy” meanders through Paris, Baldwin becomes more present on screen, but his words are scarce until the final moments. When he does speak, it is in a poignant reading from his book “No Name in the Street,” which adds much-needed context to the film’s sensory exploration of his experiences.

This approach raises questions about what we gain or lose by not having a more direct engagement with Baldwin’s story. Owens’ focus on capturing the mood and atmosphere of his subject’s travels may feel like a missed opportunity for deeper insight, but it also allows us to experience Baldwin in a way that feels authentic to his own spirit.

In an era where biographical dramas often prioritize dramatic license over historical accuracy, “Jimmy” is a refreshing exception. By embracing the vagueness and ambiguity of Baldwin’s experiences, Owens creates a film that feels more like a meditation on his subject than a traditional biopic.

Owens’ decision not to focus on grand narrative arcs or pivotal moments may be a more honest reflection of how Baldwin himself navigated his own experiences. The result is a film that captures the quiet, haunting essence of Baldwin’s presence rather than attempting to contain him in a definitive portrait.

Ultimately, “Jimmy” is a film that feels like an attempt to conjure Baldwin’s spirit rather than capture it. It may not provide the definitive portrait we often expect from biographical dramas, but it does offer a unique perspective on Baldwin’s presence and experiences. As we reflect on this enigmatic film, we are left with more questions about the nature of Baldwin’s legacy and what it means to capture his essence in a cinematic work.