★★★★☆

123 min | R | October 2, 2020 | Netflix

Radha is a Harlem playwright who got named a promising new voice before thirty and has produced nothing since. Approaching forty, she decides to reinvent herself as a rapper. Radha Blank wrote it, directed it, and stars in it, and she makes starting over look like the only honest option left.

Radha is a Harlem playwright who got named one of New York’s promising voices before thirty. She approaches forty with no new production and a teaching job she resents. She decides to reinvent herself as a rapper called RadhaMUSPrime. The film treats that decision as both a midlife crisis and an act of survival. Radha Blank’s debut is about a Black artist refusing to flatten her work for the white establishment that funds it.

Radha Blank plays Radha with self-deprecation and stubbornness. She makes the character’s stalled ambition funny without softening the anger underneath. Peter Y. Kim plays Archie, her agent and oldest friend, with frantic loyalty and constant exasperation. Oswin Benjamin plays D, the beat producer who pulls her toward the music, with quiet patience. Reed Birney plays J. Whitman, the white producer who wants her play about Harlem to feature more suffering. Birney finds the smiling condescension of a man who is certain he is helping.

Blank directs and writes her first feature with command. She shoots in black and white, which places the film in the lineage of New York indies about artists scraping by. She breaks the narrative with documentary-style interludes where Harlem residents address the camera directly. That choice grounds Radha’s private struggle in the neighborhood around her. The rap sequences work because Blank writes verses that are sharp and specific rather than aspirational.

This is a film about the cost of staying honest when the market pays you to perform your own pain. Radha can produce her play if she lets a white man turn her characters into stereotypes. She can find a new voice in rap if she is willing to start over at forty. Blank builds the comedy out of that bind and never pretends it resolves cleanly. The result announces a filmmaker who knows exactly what she is doing.