A distinguished writer sits in an East Texas diner, chatting with the director Richard Linklater: They shake hands with locals and talk about Linklater’s family, the prison system, and the curious “oppositional personality” of radicals. Now, the writer is speaking in a museum gallery, his hands folded in his lap, explaining Texas’s relationship to slavery: While images play of Black people in cotton fields, he says that the “labor-intensive process” created an “investment” in keeping slaves. Later, we see the same writer gazing at the commercial traffic flowing through the US-Mexico border, his graying eyebrows knitted in concern.
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