Las Movies continues, with its host, Ignacio M. García Medina, analyzing the world of pop culture: movies, video games, and everything related to the entertainment world. In this fourth installment, Ignacio talks to us about the film Concrete Cowboy, which he says is a production that escapes Netflix’s progressive bias.
“Although Netflix is known for its progressive bias, sometimes they slip in films with different messages. Concrete Cowboy is one of these exceptions. It’s garnering great success, which is unusual for critics with the same bias because when they see these types of films, they vilify them,” our host said.
The film is based on the novel Ghetto Cowboy by Greg Neri, who was inspired by the real African-American urban riding culture of Philadelphia and, in particular, the Fletcher Street Urban Riding Club. It stars Idris Elba, Caleb McLaughlin, Jharrel Jerome, Byron Bowers, Lorraine Toussaint, and Clifford “Method Man” Smith.
Ignacio explains that while the story is real–many of those involved are the townspeople themselves–the plot, which pushes a narrative of freedom, is fiction.
“What you’re doing is carrying a message of freedom and individual responsibility. Instead of the typical narrative of victimhood and how it’s all the fault of the capitalist system, what you do is tell in a fictional way a true story.”
Concrete Cowboy breaks with the progressive narrative
In that sense, Ignacio says that Concrete Cowboy breaks with the progressive narrative and shows the reality of many families without the need to stigmatize situations. “The film stands out for the power of its story and its performances. It does not follow this narrative of structural or systemic racism. It bravely tackles the problem of what it is like to raise children in the absence of a father figure.”
Likewise, he said that another of the film’s achievements is that it shows that the state should not be seen as a problem solver, but that, on the contrary, it should allow citizens to solve the situations that arise in their own lives.
“I also thanked that it does not show the government as the great savior to be asked for help. In fact, what this film shows is that it sees the state as a source of problems. Rather than asking for help, the film asks is for the government to get out of the way,” Ignacio said.