From the opening scenes, “Selma” is not a movie that pulls any punches. An unflinchingly real look at the Selma to Montgomery voting rights marches spearheaded by Martin Luther King Jr., the film vividly depicts the struggle towards racial equality not only of days past, but is a harsh reminder of today’s racial disparity.

The movie picks up just as King is about to receive his 1964 Nobel Peace Prize, reciting his speech to himself in the mirror. We then get a bit of a playful moment with King and his wife debating his tie of choice. But that’s it for playful moments, as King immediately feels the weight of the current situation. The scene then intercuts with one of the most tragic moments of the Civil Rights Era, setting the tone for the rest of the movie.

There have been many movies based in this era in history, but few have hit as hard as Selma. A large part of that is due to the direction of Ava Duvernay. A simple filming style becomes gripping as she allows scenes to play out in a straightforward fashion. The story being told is so inherently gripping that the film doesn’t need to play up certain moments for you to feel the enormity of the situation. Two key scenes display Duvernay’s understanding of the story: one being the chaotic and brutal beat-down of peaceful protestors trying to cross the Edmund Pettus Bridge, and the second being an intense meeting between King and President Lyndon B. Johnson. Both scenes demonstrate Duvernay’s understanding of the struggle taking place, from the battles on the streets, to King’s stressful pleas to the men clearly not doing everything they can to help matters.

The movie is anchored by its excellent performances. David Oylewo leads the cast with a performance that delivers all the importance and positivity of King’s message while never straying from the conflict that haunts him. At times, we see King on the edge of defeat, but he never gives up. Olyelwo gives King the stress, conflict, and most importantly, resilience that MLK so embodied. It’s a performance for the ages that cements its place in film history, Academy Award or not.

The rest of the cast shines as well. Tom Wilkonson gives a gripping portrayal as Lydon B. Johnson, unsure if he wants to be forced into a racially equal America. Tim Roth plays Alabama governor George Wallace with such a relaxed bigotry, portraying a man so stubborn against progress that it’s impossible not to be stirred up by his actions. Dylan Baker makes the most of his brief scenes as J. Edgar Hoover, who has been tasked with spying on King by President Johnson. Carmen Ejogo plays Coretta Scott King as a supportive and worrying wife. It’s a fine performance that is ultimately let down by the script deciding to stray away from one of the more disappointing aspects of Kings life. But it’s a singular flaw in a powerful movie.

       As the movie nears its most hopeful moment, it becomes clear that Selma is about how one man’s dream backed by a whole movement can shine through even the most ignorant of opposing ideals. Selma is about progress the world has made, its a devastating look at where we once were, and a painful reminder of the injustice that still strikes this world to this to this day.