It is Simien’s excellent pen skills and ensemble cast who execute these elaborately drawn out characters that imbue Dear White People with such lasting power. In addition to Sam, Troy, Kurt and their fathers, there is Lionel Higgins (Tyler James Williams), a gay misfit who uses the racial divide as an opportunity to join the school’s White newspaper staff to cover the growing controversy. There’s Reggie (Marque Richardson), a pro-militant youth who urges Sam to fight with every last breath. Lastly, there is Colandrea “Coco” Conners (played by Mad Men‘s Teyonah Parris), a complicated character with a sharp tongue whose aim is to become a bonafide reality TV star.
All those principal players, under the clever direction and writing of Justin Simien, make Dear White People a whip-smart production. His playful scene setting and homages to Spike Lee (one particular part is reminiscent of Do the Right Thing) allow the audience to focus on each flawed protagonist and ensure that the overall plot is controversial and conversation-starting. No one is perfect and above reprise in Dear White People. While Sam (Thompson) does her best to fight against the adversity thrown against her at Westchester University, she sometimes fights fire with fire, and there are even moments where she’s guilty of inciting issues herself.
Simien’s deft usage of social strife mixed with real world commentary ensures Dear White People as a bold and beautiful entry with few flaws. Speaking of flaws, the one major issue is with certain secondary characters (Troy, Coco, and Kurt for example) who have had their stories explored and not fleshed out in the final act. It leaves a “what happened with so-and-so” type of feel once the credit rolls, but isn’t enough to stop anyone’s appreciation of this film.