It’s almost impossible to talk about Titus Kaphar without talking about the "cut." If you’ve followed his career at all, you know his signature move: taking a blade to a canvas, slicing out a figure, and leaving a literal, physical hole where a person used to be. It’s a violent act that somehow feels like an act of mercy. But now, with his first feature film, Exhibiting Forgiveness, Kaphar is doing something even more radical than cutting a canvas.
He’s showing us what it looks like to survive a father.
Honestly, the film is a lot. It’s a semi-autobiographical gut-punch that premiered at Sundance in 2024 and hit theaters in October. It stars André Holland as Tarrell, a high-flying painter who is basically a stand-in for Kaphar himself. Tarrell is successful, he’s got a beautiful family, and he’s seemingly worked through his demons. Then, his estranged father, La’Ron (John Earl Jelks), shows up on the doorstep. La’Ron is clean now. He’s found Jesus. He wants to talk.
And Tarrell? He basically wants his father to disappear back into the void.
The Reality of Titus Kaphar Exhibiting Forgiveness
What most people get wrong about this movie—and the accompanying Gagosian exhibition—is the idea that "forgiveness" means everything is suddenly fine. It’s not. In the film, and in the Titus Kaphar Exhibiting Forgiveness paintings shown at Gagosian Beverly Hills in late 2024, forgiveness is treated like a heavy, awkward object you’re forced to carry.
Kaphar doesn't do "Hallmark" moments.
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Instead, he uses the literal tools of his trade to show how trauma functions. In the movie, we see Tarrell painting massive, textured works. These aren't just props; they are actual Kaphar originals. One of the most striking pieces, Bad memories more saturated than good ones (2023), features an overloaded truck—a symbol of the literal baggage we drag from childhood.
The film uses a really cool, almost eerie visual trick where the paintings actually move. Flashbacks aren't just blurry fades; the younger version of Tarrell physically pushes these compositions into the present. It’s a way of saying that the past isn't "back there." It’s right here, crowding the frame.
Why the Gagosian Show Matters
If you caught the exhibition at Gagosian in Beverly Hills (Sept 13 – Nov 2, 2024), you saw the physical evidence of this struggle. Kaphar mixes oil paint with tar and gold leaf. It’s a weird, beautiful, and gross combination. The gold leaf feels like a religious icon—something holy and precious. The tar? It’s thick, black, and sticky. It’s the stuff that keeps you stuck in the mud of your own history.
Seeing these works in person is different than seeing them on a screen. You see the height of the paint. You see where he’s literally carved the canvas with a knife. These "excisions" are a major part of Titus Kaphar Exhibiting Forgiveness. When Tarrell (the character) cuts a figure out of a painting in the film’s climax, it’s a mirroring of Kaphar’s real-life process.
It’s a therapeutic strategy. Kaphar has talked about how his therapist asked him: "Who could have been there to save you?" Since nobody was there in the past, he uses the canvas to remove the threat or change the narrative.
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Radical Forgiveness vs. Radical Boundaries
The movie is kinda controversial in how it handles the "Christian" aspect of forgiveness. Tarrell’s mother, Joyce (played by the incredible Aunjanue Ellis-Taylor), is a devout believer. She pushes Tarrell to forgive La’Ron because that’s what the Bible says.
But the film asks a harder question: Is it forgiveness if you're forced into it?
Exhibiting Forgiveness suggests that you can forgive someone to free yourself, but that doesn't mean you have to invite them to Sunday dinner. By the end of the film, Tarrell reaches a place of peace, but it’s a prickly kind of peace. He yields. He forgives. But he also makes it clear that there is no future relationship.
That is a very "human" take on a topic that usually gets wrapped in platitudes.
Breaking the Cycle
Kaphar co-founded NXTHVN in New Haven, an arts incubator designed to help young artists of color. You can see that same "building a future" energy in the film. Tarrell is obsessed with protecting his son, Jermaine, from the cycles of abuse he endured.
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There’s a scene where Tarrell is painting in a motel room because he doesn't have his studio. He rips a bedsheet off the mattress and tapes it to the door. He has to paint. It’s not a hobby; it’s his lungs. For Kaphar, the act of "Exhibiting Forgiveness" isn't just about the gallery show. It's about the daily labor of not letting your past kill your future.
Key Takeaways from Kaphar’s Directorial Debut
If you’re looking for a "feel-good" movie, this isn't it. But if you want something that actually reflects the messy reality of family trauma, it’s essential viewing.
- Art as an Exorcism: The paintings in the film aren't just decor; they are tools Tarrell uses to survive his memories.
- The Power of "No": Forgiveness doesn't always equal reconciliation. You can let go of the anger without letting the person back in.
- Visual Language: Kaphar proves that a painter’s eye translates perfectly to cinema. Every frame feels like a composition you’d see in a museum.
- E-E-A-T Evidence: Critics at The Guardian and Variety have praised the film for its "universal acclaim" (holding an 82 on Metacritic), specifically noting André Holland’s raw performance.
Actionable Steps for Engaging with Kaphar’s Work
If this story resonates with you, don't just stop at the trailer.
- Watch the film: Exhibiting Forgiveness is currently available on digital platforms like Amazon and Apple TV.
- Study the "Jerome Project": To understand where these themes started, look up Kaphar's earlier work, The Jerome Project, which explored his first attempts to reconcile with his father through art.
- Visit NXTHVN: If you’re ever in New Haven, Connecticut, look into the work they do at Kaphar’s arts hub. It’s the real-world manifestation of the healing he talks about in his art.
- Read the Script: Gagosian published a book that includes the script and stills from the film. It’s a great way to see how Kaphar bridges the gap between the written word and the painted image.
Ultimately, Titus Kaphar Exhibiting Forgiveness isn't just a movie title or an exhibition name. It’s a description of a lifelong process. It’s about the hard work of taking the tar of your past and trying to find the gold leaf underneath.