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iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/culture/the-ont-row"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">“Mdg the Gap,” Reviewed: A Self-Qutng Documentary About What Happened to a Group of Young Skaters</h1></div><div class="ContentHearAccredatn-lfctVB cKRKZx ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearByle-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearContributorImage-cvjZXn jKACOU"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearContributorImage-cvjZXn jKACOU rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="66px"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="66px"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/richard-brody">Richard Brody</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2018-08-17T13:33:48-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">Augt 17, 2018</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHearLeadAsset-hGbumP iWPCcH lead-asset ContentHearLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallle" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb khLUzS"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz iQZCGq"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO KhjZz ContentHearRponsiveAsset-bREgIb khLUzS rponsive-image rponsive-image--expandable"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Keire Johnson leans on a skateboard Mdg the Gap." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Keire Johnson a scene om Bg Liu’s documentary film “Mdg the Gap,” now theatr and streamg on Hulu.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph Courty Hulu</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV 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23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">As a teen-ager, a ago, the small cy of Rockford, Illois, Bg Liu filmed himself and his iends skateboardg. He shot much of his footage while skatg alongsi them, and, as a rult, the skatg sequenc of his documentary “Mdg the Gap” (which opens today theatr and <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">streams on Hulu</a>) have a surgg, glidg, soarg, joyoly speedy energy that offers a hypnotic whirl and sh. Those imag of skatg, however, are merely the background and ntext for the film, and the divertg thrill that they offer is ccial to the film’s substance. That substance—domtic trma, systemic racism, and enomic dislotn—is also the very stuff of society, and the near-at-hand timacy giv rise to a film of vast spe and polil pth.</p><p class="paywall">Bg (as we’ll ll the onscreen person; we’ll ll the filmmaker Liu) is Che-Amerin; his clost skatg buddi are Zack, who’s whe, and Keire, who’s black (and who’s also a few years younger). A later, he returns to Rockford, viss wh them, and films them their current liv. Both Keire and Zack are high-school dropouts; Zack works as a roofer, Keire works as a dishwasher. Bg asks Keire about how he was discipled as a child. Keire says that would now be lled child abe—he was beaten by his father. Zack says that he, too, was beaten as a child. (In the film, Zack’s father don’t addrs the allegatns.) Bg reveals to both men that he, too, was beaten as a child, by his stepfather, who married his mother when he was eight, and that his own experience is the reason that he’s here wh a mera addrsg the subject wh them.</p><p class="paywall">What emerg, the urse of the film, is that the three iends skated as a release, an pe, a sort of natural high to liver them momentarily om the trmas and the agoni of their liv at home. The grace, the wonr, and the bety of their balletic athletic skill, which begs the film as unalloyed youthful nocence and charm, is retroactively ravaged, as if X-rayed to reveal a adly disease beneath s allurg surface. If the reckls, sometim physilly paful skatg turns out to be eply and irreparably symptomatic, the film—Liu’s vtigatns, his return home to the primal scene of his trma—is both a mo of unrstandg and of self-unrstandg. In the procs, Liu seems to help Keire and Zack achieve a measure of self-awarens and nstctive advancement as well.</p><p class="paywall">“Mdg the Gap” builds Liu’s vtigatns, and the personal and ethil nsiratns that they entail, to the film. What he disvers—and films—of his iends’ prent-day liv disturbs him, and Liu grappl wh his own nflicts even while filmg himself grapplg wh them. The tails of the film make for an exemplary work of reportg. Liu’s clear revelatn of specific yet plex events brgs out psychologil aly and logil nnectns but don’t impose a narrative; rather, the drama crystalliz as the events unfold. It’s a documentary which the very nature of vtigatn is tablished—tellectually, athetilly, and morally—by way of the personal implitn of the filmmaker the subject, of the filmmaker’s own need to make the imag, to talk wh the participants, to get beyond the surfac of the settgs. “Mdg the Gap” is a personal documentary of the hight sort, which the film’s necsy to the filmmaker—and s obstacl, s ristanc, s emotnal and moral mands on him—are part of s very existence.</p><p class="paywall">When Bg returns to Rockford, Zack is a relatnship wh a woman named Na, who has jt turned twenty-one, and they have a newborn son named Ellt. The nflicts their relatnship are the fore om the start: Zack’s employment is erratic; he’s not workg at the moment, and Na is workg as a wars a lol rtrant. For the time beg, Zack is a stay-at-home father, and, when Na home om work, he wants a break om the domtic route. Instead, Na stops for a drk wh iends on her way home, or, when she gets home, drops her thgs off and go out aga to socialize.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Their fights grow more bter; Na leav their hoe, tak Ellt, and mov wh her nt and uncle. But she and Zack ntue to see each other, and one of Zack’s iends, his prence, plays for Bg (who’s filmg at the time) a rerdg of a harrowg, screamg fight the urse of which Na threatens Zack wh a knife. Na, speakg to Bg Zack’s absence, says that she was rpondg self-fense. She says that Zack has beaten her, shows a sr that she says he ed, scrib his acts of vlence—and, when Bg asks how he should brg the matter up wh Zack, she asks him not to do so at all, sayg that would be the end of their relatnship.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Meanwhile, Keire, who has begun to hang out wh another group of skaters (who are his own age), is gettg his life together. From his job as a dishwasher, he has been promoted to waer, is makg more money, enjoyg his work more, and lookg ahead to a better future. Keire’s father has died, but his father looms as large absence as he did prence. Keire stggl wh the paradox of victims of abe, of lovg someone who has hurt him badly. Discsg his father, Keire says that he tght him that, though he has an ethnilly diverse group of iends, he has to remember that he’s black. In the pany of a group of black iends, Keire tells a story that mak clear what this means: beg stopped by police while drivg and havg an officer pull a gun on him, keepg his license and registratn on his dashboard so that he’ll never have to reach to his pocket a police officer’s prence, livg the awarens that he n be killed by the police at any given moment.</p><p class="paywall">Zack is nsc of his self-stctive behavr; he adms that, rather than turng “negative experienc to posiv,” he rpond by beg as “bad” as possible. He dropped out of school, he drank heavily, and he says that he is now well aware that his current difficulti are a rult of his own early cisns. He’s also filled wh a sort of nihilistic rentment, which he voic a scene which he mocks straight-arrow typ who plan for the future and seek stable, orrly, prospero liv.</p><p class="paywall">Na, for her part, discs her own troubled background, a childhood whout tenrns or affectn, and her disvery, for the first time, at the age of twenty-one, thanks to her nt and uncle, of what fay life n and should be. Her disvery go together wh a qut for self-disvery, which she tails stark terms that themselv have a cematic echo: “I was always somethg to someone, someone’s dghter, someone’s sister, someone’s signifint other, someone’s mom; I never got a chance to figure myself out.” (Her remark is remiscent of one ma by the subject of Geri Ashur’s extraordary documentary om 1971, “<a href=">Janie’s Janie</a>,” a young Newark woman and mother who separat om her abive hband.)</p><p class="paywall">As part of his nontatn wh his own trma, Liu terviews his mother, Mengyue, on mera—while havg another mera operator film him terviewg her. She adms that she’d have preferred leavg the troubl the past and not brgg them to the fore now, but that she’s dog so for Bg’s sake, the hope of dog whatever she n, and whatever he thks necsary, to help him. The movie’s sense of therapy through documentary is ma explic a sual, jokg remark by Keire—but ’s not a joke, ’s the very re of the film, and of the film’s wir import.</p><p class="paywall">Liu looks at Rockford’s abrad surfac, s board-up buildgs on ma streets, set agast sound clips of news reports regardg the town’s enomic wo and other related troubl—notably, s high rate of vlent crime, fully a quarter of which, acrdg to one of the reports, riv om cints of domtic vlence. What emerg, throughout “Mdg the Gap,” is that the very notn of self-nontatn on film is more than a mo of documentary practice and athetic exploratn. There isn’t a word of explic polics the film, but Liu’s nontatn wh abe and trma as a way of nontg s unnsc legacy, of changg one’s own behavr and improvg one’s own life and the liv of one’s own fay and iends, is an sentially and ccially polil act.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="4xqhc"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div><div class="ArticlePageSplAdRailMiddle-tiRvu hiZeZX spl-ad-rail-middle"></div><div class="ArticlePageSplAdRailBottom-dBKMGQ jmCMsn spl-ad-rail-bottom"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="w2t8w"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/richard-brody"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/richard-brody">Richard Brody</a> began wrg for The New Yorker 1999. He wr about movi his blog, <a href=">The Front Row</a>. He is the thor of <a href=">“Everythg Is Cema: The Workg Life of Jean-Luc Godard</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/films" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Films</span></a><a href="/tag/documentari" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Documentari</span></a><a href="/tag/skateboardg" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Skateboardg</span></a><a href="/tag/domtic-vlence" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Domtic Vlence</span></a><a href="/tag/child-abe" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Child Abe</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Gogs On</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">What we’re watchg, listeng to, and dog this week, onle, N.Y.C., and beyond. 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BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The Amy’s cisn to create a new award for “popular films” is more than absurd and sperate: ’s rankly offensive.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--article summary-em--no-in summary-em--text-align-left 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