Director Jose Acevedo’s Eagle is a tricky short film to write about, as in order to really dive into what makes it successful, one risks ruining it. So, suffice it to say, if you haven’t watched yet, hit play and come back to this review after nine minutes.

*SPOILERS*

In general, I tend to dislike short films predicated on twists. But, I’d argue that’s not what Eagle is—it’s not a “gotcha” film. Rather, it plays with structure in clever ways in order to defy expectations. I realize that may sound like semantics, but I think there’s a difference in that the reveal feels organic to its broader moral message, not some trick that comes out of left field in order to outsmart the viewer.

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An engaging slice-of-life-drama, Eagle is centered on a charismatic lead (Edgar, played by Daniel Taveras).[/caption]

Are the film’s cyclical bookend scenes intended to surprise? Yes. But, despite the reveal, Eagle is compelling throughout—an engaging slice-of-life-drama centered on a charismatic lead (Edgar, played by Daniel Taveras) that simultaneously explores some weighty themes. Within the film, Acevedo is addressing a plethora of topics: societal roles, stereotypes, and the ties that bind us to people for better and worse.

When it comes to stories set in marginalized communities of color, Hollywood loves a good underdog story—narratives wherein the smart kid from the “wrong side of tracks” is able to “escape” his humble upbringings and rise to something better. But, what if he doesn’t want to escape? What if he never finds Forrester?

It’s an interesting idea that Acevedo explores in a heightened and stylistic way, straddling the line between youth indie drama and thriller. It’s entertaining in the way most short “festivally” dramas aren’t, relying on a unique structure and engaging thriller elements to balance out the thematic meat.

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Roy Wood Jr. as Edgar's guidance counselor in Eagle.[/caption]

The film’s title refers to a story told by Edgar’s guidance counselor (the always terrific Roy Wood Jr.). It’s a somewhat well-known fable—the kind of thing you might hear during a high school commencement speech. Comprising the central portion of the film, it becomes a pillar that the film revolves around, before looping back on to itself. After all Edgar is an eagle, right? He’s destined for greatness and is ready to leave the chickens behind? Or, maybe, as Acevedo suggests, he’s just a smart kid who isn’t immune from doing dumb things.

"What inspired the film was my anger at the messaging I got as a kid"

Obviously, with the ending (and the hints at something darker at the start via a bloodstained shirt), Acevedo is challenging the morality of this character and is exploring the way we tend to cast off people from marginalized communities whom we consider “less special.”

As he states:

"I first heard it [the eagle chicken story] for the first time a couple of years ago. I was at a conference for marginalized people who work in entertainment and it was told to us by the moderator. I believe their intention was to make us feel like we are all special eagles, but at the time all I could think was ‘So... I guess f-ck those chickens?’

It immediately took me back to my upbringing on the west side of Chicago. Ultimately, what inspired the film was my anger at the messaging I got as a kid that boiled down to ‘you’re smart in a very particular way, but your friends and family are not, so you need to get as far away from us as you can.’”

Although this is Acevedo’s first film, he clearly has chops as a visual storyteller. The film’s craft is strong, starting with defined compositions and evolving to handheld work as things get more frenetic during the film’s robbery climax. It’s complemented by slick lighting from cinematographer Conor Murphy (Black Swell) and solid production design from Amanda Carzoli, with Acevedo also highlighting the vital role producer Lexi Tannenholtz played in the short's success.

Acevedo, who formerly worked in development for Comedy Central, clearly has a bright storytelling future ahead of him.