I was familiar with the parallel arguments serving as the foundation of Alex Bezeau's engaging and well-informed 76-minute feature doc Vacation Plantation. The film, to state it overly simplified, centers around the tourism industry of southern plantations and their role in contemporary society.
Today, in the American South, there are as many historic plantation sites open to the public as there are Krispy Kreme locations across the United States.
There is, quite simply, an American plantation tourism industry that caters to rose-colored fantasies about these largely than life "homes" with their beautifully curated lawns and whitewashed pillars.
What this industry doesn't do, at least for the most par,t is serve up a balanced portrayal of the traumatic history of these plantations and the truth behind these manicured gardens, beautiful grounds, and homes beyond what most of us can imagine.
Vacation Plantation grants unparalleled access to this industry. The film wisely, yet devoid of histrionics, presents both sides of the discussion as guided by archaeologist Lauren Cudmore, a quietly delightful hope whose presence isn't so much one of curiosity as it is openness to engaging with the full history of these historic plantations.
We are introduced to two plantation owners, both of whom rest largely in the argument that these plantations are inherently beautiful and slavery is a thing of the past. It's a simple, straightforward position that is, if we're being honest, the position of many Americans and those who visit the plantations. Kevin Kelly is, perhaps, the most jarring of the two with humor that creates a facade not far removed from the plantations themselves. It is in her time with Kelly, in particular, that Cudmore really shines as an interviewer as she's able to be both personable and yet a tranquil presence allowing Kelly's racially-tinged comments to rise to the surface. Cudmore's approach isn't so much "gotcha" as simply allowing history to reveal itself.
Vacation Plantation becomes particularly enlightening through the presence of Jo Banner and Joseph McGill. This is particularly true as the film begins to wind down, and these two have established themselves as well-informed, well-reasoned human beings who are acutely aware that racism is alive and well in America (NOTE: as a person with lifelong disability, I'd personally argue that slavery is alive in the United States to this day just expressed differently).
Bezeau directs Vacation Plantation with a quiet discipline. He clearly trusts the power of the truth to unfold and avoids any unnecessary special effects or gimmicks. He and Cudmore serve as engaging storytellers here committed to telling a difficult story with honesty. Did I ever forget that Vacation Plantation is a low-budget indie doc? No, not really. There were times I longed for better lighting, though I also often came back to how the film's muted tones and simpler production quality actually served this story well.
Vacation Plantation tackles a difficult subject and tackles it well. Lauren Cudmore offers a sure and steady presence with a quietly warm interview style that digs deeper without ever creating more drama than the story itself creates. I would watch more docs with Cudmore in a heartbeat.
For an important glimpse into a subject not often discussed, Vacation Plantation is a film to watch for as it hits streaming with indie distributor Syndicado.
Written by Richard Propes
The Independent Critic
