Traversing the mid-Atlantic seaboard from South Carolina to New York City, Godass (2000) is a depiction of the excitement of meeting intriguing people in our youth, as we’re establishing our identity, and of how familial truths reveal themselves slowly over a lifetime. Shooting in the late ’90s, mostly on digital video, director Esther Bell managed to capture a scene and moment in time that remains rather elusive over 20 years later.
Set a decade earlier, in 1988, Godass is the story of Teri (Nika Feldman), about to finish high school and still mourning the loss of her father who died moments after admonishing her for her fashion choices. Brimming with creativity, she puts most of her energy into her punk zine, Skid Marks, and a comic about the ancient Mesopatamian goddess Inanna. Along with friends Skank (Preston Miller) and Kevin (Arik Roper), she takes a road trip to New York City to go to some shows and line up interviews with bands. When her car is stolen, she is left with no choice but to reach out to “Uncle Henry”—a closely guarded secret she has kept from her friends. Henry (George Crowley) is her biological father, who departed from her life early on. All Teri really knows of Henry is that he is gay, but there’s another memory beneath, slowly resurfacing.
When Teri and co. turn up on his doorstep, Henry is more than happy to welcome them to stay. Recently laid up after being targeted and attacked on the street, he’s being tended to by former lover Roland (Fred Schneider of The B-52’s). He and Roland share a long history, having been together for over a decade until Roland grew tired of Henry’s shame over his sexuality. A rather square accountant, Henry isn’t as at ease with being gay as Roland is; he even confesses to Roland that he left Teri’s life so she wouldn’t have to “deal” with who he is. Trying to mend fences, Henry reaches out to Teri in the hopes that they can forge a relationship, but Teri doesn’t mask her hostility.
Making the most of her extended stay in NYC, Teri is delighted when she reconnects with childhood friend Nancy (Julianne Nicholson), someone she always credited with exposing her to cool people. She also collides with East Village scenesters who are mostly helpful with her Skid Marks aspirations, but at times the party atmosphere overwhelms her, resulting in a crash-up of a 16mm screening that happens to be Bill Plympton showing an animation.
Replete with the energizing atmosphere that feels ever present for those experiencing New York City after small-town life, Godass feels akin to Smithereens (1982) and even Times Square (1980)—stories of young women outside the norm looking to connect and get their own thing going. After playing New York Underground Film Festival in 2000 and having a brief stint on Showtime, it has been difficult to find.
Godass screens tonight, October 24, at Nitehawk Williamsburg as part of the series “The Outskirts,” co-presented by Screen Slate. Director Esther Bell will be in attendance for a Q&A.
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