Multi-Facial 2018

Mike, Taz Skylar, a struggling actor with a tattooed arm, auditions for an Italian-American role and delivers a shocking anecdote in a New York Italian accent. He recounts a violent outburst in a restaurant—how a man looked at his girlfriend, only for Mike to discover the man was gay and redirect his rage at his partner, beating her and then being stunned when she stops calling. The casting director shows interest and has Mike perform a bit of Italian, then explains they’ll be in touch. When asked where the monologue came from, Mike claims it’s a true story that happened to a friend. Later, he phones his manager to vent about the monologue, insisting it wasn’t true and that it could ruin his chances. He wipes the fake tattoo from his arm and moves on to the next audition.

In the waiting room of another audition, Mike chats with a Black actor about the job market. He repeats his grievance about the monologue, while the other actor shares that he has just landed an international commercial. Mike dismisses the idea of doing commercials, arguing that no great actors ever did them. A director then sniffs that Mike’s skin is “a little too light,” suggesting he shouldn’t bother auditioning and proposing a Spanish role in a soap opera instead.

At another audition, Mike reads opposite a Cuban-leaning accent alongside a Hispanic actress. They attempt a heated exchange, but when the actress slips into Spanish, Mike falters and can’t continue. As they leave, the actress chides him for pretending to speak Spanish and encourages him to try for a soap opera still seeking Hispanic actors; Mike refuses again, insisting he won’t do soap operas because no great actors ever did them. He pushes forward to a new session, where his scene partner tells him she believes he could do well. He delivers a reading with a heavy urban cadence, and the judges interrupt the take, noting they’re looking for a different “Wesley type,” leaving Mike with a sense of missed fit.

Moving on, Mike returns to another audition where the staff notice on his résumé that he can rap. He launches into a hip-hop routine, then shifts into a monologue about watching his father in a stage production of Raisin in the Sun. He explains that his father’s dream for him was to become a great actor, a goal that transcended color and lineage. Although the casting team is impressed, they admit the role isn’t a fit for someone with his look, particularly if dreadlocks are required. He leaves with a wary promise that they’ll reach out if they can cast him differently.

The day culminates in a quiet moment of tension and reflection inside a diner. Mike sits in silent anger, overhearing an actress lamenting being typecast as a blonde bimbo. When the waitress arrives, the actress orders coffee that is “not too light, not too dark.” Mike quietly processes the irony of the moment, mouthing the exact line to himself as a small, rueful smile crosses his face.

Throughout these encounters, the film sketches a portrait of a talent trapped between self-expression and industry demands, a man who arms himself with stubborn pride while repeatedly facing the gatekeepers who filter who gets to tell certain stories. The rhythm of auditions—language, race, authenticity, and image—becomes the echo chamber of Mike’s ambitions, revealing the price of pursuing a dream in a world quick to categorize and quick to judge.