The events taking place in “Luce” are the kind that are likely to generate a multitude of discussion and debate.

J.C. Lee’s play turned screenplay is a riveting exploration into the social, physiological and racial discussions currently being held in our society, albeit from a different perspective. However, it’s difficult to absorb entirely what “Luce” is trying to explore while director Julius Onah winds you into a knot with extreme tension and suspense.

Audiences will be more concerned with “what happens next?” or “how does this end?” than how it makes them feel.

Oscar-winner Octavia Spencer (“Ma”) turns in one more excellent performance. Each scene shared between Spencer and Kelvin Harrison (“It Comes at Night”) is the unsettling pulse of the film.

Adopted at age seven from the violent, war-torn Eritrea, Luce (Kelvin Harrison) has grown up with wealth and privilege at the hands of his adoptive parents Amy (Naomi Watts) and Peter Edgar (Tim Roth). In fact, he’s become the model student, excelling in virtually every subject, heading the debate team, a track star and a leader on the football field.

His star status comes into question though when an over sensitive history teacher, Harriet Wilson (Spencer), raises alarms at an assignment he turned in. Combined with something unsettling found in his locker, Wilson confronts the parents. The Edgar’s wave their son’s success like a banner of achievement as proof that he can do no wrong. Is it all just a misunderstanding or is a child raised among violence and killing from his early childhood, predisposed to violence, and no amount of therapy can wash it away?

The trailer for “Luce” advertises a thriller, but the pacing of J.C. Lee’s is tepid. The pace is intentional and meant to get under the viewer’s skin. Varying perspectives allow us to see many of the circumstances from alternate points of view.

It becomes very clear that Luce is smarter than all the adults around him, a fact pointed out by the principal (Norbert Leo Butz). The same can be said for Lee’s insights and the correlation between what’s being portrayed in this particular story, to society at large.

The man behind the story is slightly more intelligent than the bulk of the target audience which could also make for a frustrating experience if “how does this end” is all you’re focused on. The film’s ambiguity is partly a strength, but mainstream audiences won’t see it that way.

“What if you are part of the what I need protecting from,” might be the most bone-chilling sentenced uttered in a film with some pretty eye-opening conversations.

“Luce” hits hard and deep, especially for the parental viewers, embodied by Watts and Roth’s realistic and relatable parents who are trying to do the right thing. Watts gets to drive the plot along, literally in a few scenes, reminding us of her credibility when she’s cast in the right roles.

Onah doesn’t seem to be reaching for cinematic greatness. Instead, he understands the power of Lee’s creative storytelling and rests the entire film on the actor’s shoulders, actors who deliver for the most part.

Final Thought — Often too smart for its own good, “Luce” is a riveting example of a genre film packed with emotional context and great performances.

Dustin Chase is a film critic and associate editor with Texas Art & Film, which is based in Galveston. Visit texasartfilm.com.

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