TIFF’s Human Rights Watch Film Festival Review: Valentine Road (2013)

Cast: James Bing, Jeremy Bing, Rosalie Black
Director: Marta Cunningham
Country: USA
Genre: Documentary

Editor’s Notes: The following review is part of our coverage for TIFF’s Human Rights Watch Film Festival which runs until March 6th at TIFF Bell Lightbox. For more information on upcoming TIFF film series visit http://tiff.net and follow TIFF on Twitter at @TIFF_NET.

If there is one truly horrifying revelation, or perhaps confirmation, to emerge from Marta Cunningham’s documentary Valentine Road it is that some human beings are still absolutely limitless in their small-mindedness and bigotry. Cleverly finding a difficult neutrality the film never directly comments on the extraordinarily opposing opinions expressed, preferring to leave that to some of the more credible figures involved, and honestly and without internal prejudice presents a balanced view of the main protagonists.

… a deeply sad story of two diverse young men who shared troubling and isolated lives, and who were dramatically failed by those adults around them.

Amidst more gory and spree-like killings, whether high school based or not, the story of Larry King’s murder is probably little known outside of North America. This was a crime of one 14 year old boy on another 14 year old boy and while hugely tragic may not have caught the public’s imagination as much as a multiple victim attack. But delve a little deeper behind the facade of Oxnard, California as Cunningham does and what is revealed is a deeply sad story of two diverse young men who shared troubling and isolated lives, and who were dramatically failed by those adults around them.

Switching between the victim Larry and his murderer Brandon McInerney the documentary slowly reveals elements of their lives that increase equally in their shock value and also disappointment. Shocking that Larry, a biracial teenage boy so outwardly gay, could ever have been allowed to wear make-up in school, with misguided teachers worried more about infringing upon his civil rights. Disappointing that none of those responsible adults around him could find a way of relating to Larry and perhaps considering the potential provocation and bullying this could cause. Shocking that Brandon, a young man with obvious anger issues and questionable influences was not protected from the violence that darkened his heart. Disappointing that no-one in his dysfunctional family saw any issues in allowing him to be surrounded by guns, drugs and neo-Nazi propaganda.

The presentation of the facts is one thing, and is done clearly and concisely, but some of the opinions expressed are so deeply insular and deplorable as to leave you wondering how more horrific examples of wanton killing do not take place. 

Composing a review of this film is difficult without expressing too much opinion. The views expressed within Valentine Road from the adult figures are, for the most part, blinkered and objectionable but it is within this framework that Cunningham has found the film’s heart. Regularly, after a particularly uncomfortable thought the camera cuts to one of the film’s sensible interviewees and with little more than a shrug or a raised eyebrow, the futility of what you are watching is perfectly summed up.

As more and more is revealed about these two lost souls on a collision course the more maddeningly infuriated any audience will become. The presentation of the facts is one thing, and is done clearly and concisely, but some of the opinions expressed are so deeply insular and deplorable as to leave you wondering how more horrific examples of wanton killing do not take place. With the influences some of these children have it is perhaps amazing, and also refreshing, that those closest to the victim express themselves with the most sincerity and, if nothing else, common sense. It is a credit to them that their understanding of the world is far more real and knowing than that of their peers. It is with a sense of hope in the future that Cunningham’s documentary leaves you, but with a terrifying fear of the present.