Black Rider is almost desperate in its lack of great. There’s a single great moment–sort of, it’s a funny twist but entirely problematic–amid a bunch of other not great moments. And the resolution to the twist is pat and a joke… only one at the expense of writer and director Danquart and the short itself.
The film starts with a bustling Berlin train station. Black Rider runs twelve minutes. The bustling train station montage takes about three. The action then cuts to Stefan Merki trying to get his motorcycle started. He can’t, so he has to get on the streetcar. Good thing he’s at a streetcar stop where Danquart introduces some of the supporting “cast.” Teenagers, business people. Everyone’s white except two Turkish teenage boys. They’re busy making eyes at two teenage girls. And then one African guy (Paul Outlaw)–he’s waiting for the tram with his friend, a white German guy with dreadlocks… but I mean, it’s 1993 so maybe the dreadlocks on the white guy aren’t a bad sign.
(Spoiler, they are, but for Danquart’s… philosophy seems a stretch but his take).
Everyone boards, Outlaw sits down next to a rude old white lady (Senta Moira). She proceeds to complain about rude immigrants, getting more and more overtly racist as she goes along. Danquart cuts from her rants to the other passengers, who mostly sit expressionless. Some appear to react, just not vocally. They’re not going to get involved (it’s never clear if they’re actually hearing her or the audio is looped in; Black Rider is so slickly produced it comes off artificial).
Eventually there’s a short tram montage before the ticket taker arrives and then there’s the big twist. It’s a funny twist because it’s a sight gag. Danquart’s fallout from it is reassuring and patronizing–racism can’t succeed because good people, who are silently allowing social injustice, will also silently allow social justice. Black Rider isn’t naive so much as absurd. It’s not really condescending because Danquart is a philosophical punchline.
Good acting from Outlaw, who’s mostly expression, and Moira, who’s appropriately hideous. Danquart’s way too eager to write her off as a “crazy old racist lady,” because then there’s zero responsibility in Black Rider.
It’s professionally produced–though Michel Seigner’s jazz score is a little much and Ciro Cappellari’s photography deserves better direction–and it’s got a good laugh, but it’s passively gross.
Written and directed by Pepe Danquart; director of photography, Ciro Cappellari; edited by Mona Bräuer; music by Michel Seigner; produced by Albert Kitzler.
Starring Senta Moira (Old Woman), Paul Outlaw (Black Man), and Stefan Merki (Biker).