Sell/Buy/Date is an off-Broadway play created by Sarah Jones and David Goldblum, in which the protagonist digs deep into the roots of sex work and the effect that it has on everyone involved. Sell/Buy/Date is the story of Jones (who plays a series of characters throughout) trying to have her play adapted into a film. She interviews prominent figures from the industry and she finds herself falling down a seemingly never-ending rabbit hole as she looks for answers and explanations.
Jones comes dangerously close to crossing some lines throughout the course of Sell/Buy/Date. She takes on the persona of different races and cultures, and dabbles in what many would call cultural appropriation. It’s clear the stance that Jones takes on the topic, but I’m sure that there are hoards of people that would disagree with her approach. Cultural appropriation is becoming a hot topic around the world–and often celebrities find themselves in the throes of a discussion about what is and isn’t acceptable for different races. Jones, an African-American woman, appears to be trying to destroy the common views on the practice. She finds herself in a position to break down the walls and express to the world what is and isn't appropriate in regard to this hot topic–and it looks as if she is leaning more toward the idea of appreciation rather than appropriation. Sell/Buy/Date will do more than ruffle some feathers, it will fully anger viewers–but Jones knows just how to present her topic to viewers in order to break through and make some changes in the world.
While it’s sex work that is the primary focus of Sell/Buy/Date, Jones looks to attack far more in terms of the social, racial, and political climate of the world. She faces the world’s biggest threats head on, and she refuses to take no for an answer. She’s willing to listen to everyone, and she’s willing to take everyone’s thoughts into consideration–and the pedestal on which she stands is one of great power. She doesn’t squander her chance to make change–and I think that, regardless of your background or your political views, Jones takes the best possible approach toward reaching her viewers in an effective way.
Again, Sell/Buy/Date will antagonize viewers, and Jones and Goldblum must find ways to reach them beyond just beating their thoughts and ideas into the minds of those watching. Comedy is the best tool for the two writers–and they use it to their advantage throughout. Comedy perfectly compliments the intensity of the rest of the film–and Jones and Goldblum brilliantly balanced a series of tones throughout the course of Sell/Buy/Date. The comedy often hits hard, and it, more often than not, reaches viewers in the appropriate capacity–rarely failing, and helping to guide Sell/Buy/Date.
The push for diversity is greater than ever–but oftentimes diversity ends up being too in-your-face, and it becomes difficult to appreciate what filmmakers are attempting to accomplish. Once again, Jones and Goldblum find a brilliant balance throughout the course of Sell/Buy/Date that allows viewers to both see and appreciate the purpose and sentiment behind what they are doing. They get their point across often, regardless of the method they choose at any given moment–and they are constantly throwing viewers curveballs, keeping them on their toes and inviting them into the excitement of the film.
Sell/Buy/Date isn’t just a good, educational, necessary film–but it’s so wonderfully constructed, with such brilliant ideas and scenarios. It finds so many unique ways to get its point across, and Jones and Goldblum are the masterminds behind all that Sell/Buy/Date is able to accomplish. I’m so impressed with Jones’ vigor throughout the course of the film, as nearly everything she does is effective, and nearly everything about Sell/Buy/Date is perfect.
Directed by Sarah Jones.
Written by David Goldblum & Sarah Jones.
Starring Sarah Jones, Sarah Jones, Amy Bond, Natalie Cardona, Bryan Cranston, Rosario Dawson, etc.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10
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