Sundance Review: If I Go Will They Miss Me Discovers Poetic Elegance in the Journey to Adulthood

      Walter Thompson-Hernández’s If I Go Will They Miss Me finds poetic beauty in everyday life, focusing on the coming-of-age experiences in the housing projects of southern Los Angeles. This lifestyle is frequently portrayed with a raw intensity that emphasizes survival, yet the promising new director adopts a contrasting perspective. He presents a narrative where dreams of escape are always present, with planes continually passing overhead from the nearby LAX. Greek mythology, as explored in academic settings, lends a sense of a higher purpose. The sincere affection and love exchanged within the cast (many of whom are non-professionals) create a vibrant portrait of a community that thrives despite adversity. Similar to how his characters find significant personal inspiration, Thompson-Hernández draws considerable influence from various acclaimed directors, including Barry Jenkins, RaMell Ross, Charles Burnett, and Spike Lee, culminating in a film that transcends its identifiable inspirations.

      The Nickerson Gardens Housing Projects of Watts, California, serve as both residence and playground for 12-year-old Lil Ant (Bodhi Dell), who reflects on the life of his father, Big Ant (J. Alphonse Nicholson), establishing the film's complex central relationship. Through voiceover, crafted to feel spontaneous and resembling a prayer to the Gods, we discover a violent error from Big Ant’s past—the initial steps into a life marked by incarceration, contrasted with profound moments, including his connection with Lozita (Danielle Brooks). We also learn of Lil Ant’s fascination with the planes above, symbolizing escape and wonder, interwoven with elements of Greek mythology that fill his imagination with figures like Odysseus, Poseidon, Zeus, and Pegasus. Vivid scenes depict Lozita as Medusa, with snakes emerging from her hair in a barbershop, alongside sequences where neighborhood boys playfully simulate a runway in their front yards, arms stretched in a way that would delight Aunt Gladys.

      Lil Ant candidly states, “It’s always better when dad is away,” while Lozita responds, when asked about her romantic happiness upon Big Ant’s return, “It’s not about what I need. It’s about what those three kids need right now.” Big Ant, a hardened father desiring a better life for his son, struggles to emotionally connect with Lil Ant, who is drawn more towards art and creativity—worlds apart from his challenging upbringing. The vignette structure of If I Go Will They Miss Me imparts a lyrical elegance to this conflict, though some scenes may feel briefly truncated, leading to a script that might sometimes feel underdeveloped to accommodate its fluid narrative style.

      With the warm, vibrant cinematography by Michael Fernandez, Thompson-Hernández captures the community with a profound sense of love, borrowing from Barry Jenkins’ (or Jonathan Demme’s) direct-to-camera, fourth-wall-breaking shots, where actors gaze directly into the lens, showcasing kind souls for fleeting moments. The loose collection of memories resembles a visual scrapbook we have the honor of assembling ourselves, reminiscent of RaMell Ross's inventive filmmaking. Charles Burnett’s Killer of Sheep, which also finds striking beauty in similar neighborhoods, stands as a clear reference point. There’s even a dolly shot reminiscent of Spike Lee for added effect.

      While these influences are palpable, If I Go Will They Miss Me does not necessarily present a groundbreaking voice in filmmaking but rather a style capable of blending a variety of compelling visions. We need more filmmakers aiming to capture the sublime in the ordinary, and with this second feature, Walter Thompson-Hernández demonstrates he is a director worth watching for future projects.

      If I Go Will They Miss Me made its debut at the 2026 Sundance Film Festival.