Film “GOOD FORTUNE” Addresses Key Sustainable Development Goals

The upcoming theatrical comedy “GOOD FORTUNE,” the directional debut of Aziz Ansari, utilizes its narrative to explore significant societal issues that align with the United Nations’ Sustainable Development Goals (SDGs). The film, starring Ansari, Keanu Reeves, and Seth Rogen, centers on a character named Arj (Ansari) whose life of financial hardship is swapped with that of a wealthy tech investor (Rogen) by an angel named Gabriel (Reeves). This premise serves as a direct examination of class disparity, touching upon key objectives outlined in the SDGs.

Thematic Focus on Economic Disparities and Social Justice

Aligning with SDG 1 (No Poverty) and SDG 10 (Reduced Inequalities)

The film’s central plot directly confronts the challenges of poverty and inequality. The protagonist’s initial circumstances, working multiple low-wage jobs while living in his car, provide a stark illustration of the realities targeted by SDG 1: No Poverty. By contrasting this existence with the life of extreme wealth, the film creates a powerful commentary on the issues central to SDG 10: Reduced Inequalities, highlighting the systemic gaps between different socioeconomic classes.

Reflecting on SDG 8 (Decent Work and Economic Growth)

To ensure an authentic portrayal of economic struggle, extensive research was conducted. This process involved interviews with individuals facing similar challenges, thereby grounding the film’s narrative in real-world experiences relevant to SDG 8: Decent Work and Economic Growth. A key subplot, featuring a character played by Keke Palmer attempting to unionize her workplace, was inspired by these interviews.

• The research included speaking with an individual who attempted to unionize a Home Depot store.
• This firsthand account provided a foundation for a storyline focused on the pursuit of fair labor practices and decent work.
• The director emphasized the importance of avoiding misrepresentation, stating the goal was to create a film that resonates truthfully with those experiencing such hardships.

Directorial Approach and Narrative Resolution

Crafting a Hopeful Narrative

In addressing the unresolved nature of class disparity, the film deliberately avoids a bleak or cyclical conclusion. Instead, director Aziz Ansari drew inspiration from Italian neorealist films like “Nights of Cabiria” and “Umberto D.,” which find moments of hope and joy amidst struggle. This decision to pursue an uplifting and hopeful ending aims to inspire optimism in the face of the significant challenges addressed by the SDGs.

Casting and Character Embodiment

The casting of Keanu Reeves as the angel Gabriel was a strategic choice to support the film’s unique tone. Reeves was selected for a perceived “mythical quality” and wisdom that suited the character. His ability to portray the naivete required for the role was also cited as a key factor, contributing to the film’s comedic yet thoughtful exploration of its themes.

Recommendations for Aspiring Filmmakers in Socially Conscious Cinema

For students and aspiring filmmakers aiming to create work that addresses societal issues, Ansari provided several key recommendations. These points emphasize the foundational skills necessary to tackle complex subjects, such as those outlined in the Sustainable Development Goals, with competence and sensitivity.

1. Gain Practical Experience: Actively seek opportunities to work on film sets to learn the practical aspects of production.
2. Develop Film Literacy: Watch a wide array of films to understand the history and language of cinema, noting that influential directors are often students of the medium.
3. Master Screenwriting: Cultivate strong writing skills, as the script is the fundamental blueprint for any impactful film.

Analysis of Sustainable Development Goals in the Article

1. Which SDGs are addressed or connected to the issues highlighted in the article?

• SDG 1: No Poverty

  The article highlights the protagonist’s struggle with extreme poverty. The description of Arj (Ansari) who “works several low-paying jobs and lives in his car” directly points to a state of poverty and homelessness, which is the central focus of SDG 1.

• SDG 8: Decent Work and Economic Growth

  The theme of employment is central. The article mentions Arj working “several low-paying jobs,” which contrasts with the goal of decent work. Furthermore, the specific mention of a character “trying to unionize the store” and the director’s research on a real person who “tried to unionize his Home Depot” directly addresses labor rights and working conditions, key components of SDG 8.

• SDG 10: Reduced Inequalities

  The article explicitly states that the film “tackles class disparities.” The core plot device, which “swaps Arj’s life with the life of a rich tech investor,” is a direct exploration of the vast economic and social inequalities within society, which is the primary focus of SDG 10.

2. What specific targets under those SDGs can be identified based on the article’s content?

1. Under SDG 1 (No Poverty):
   • Target 1.2: By 2030, reduce at least by half the proportion of men, women and children of all ages living in poverty in all its dimensions according to national definitions. The protagonist’s situation of living in his car due to low-paying jobs is a clear depiction of a person living in poverty according to national definitions.
2. Under SDG 8 (Decent Work and Economic Growth):
   • Target 8.5: By 2030, achieve full and productive employment and decent work for all women and men… and equal pay for work of equal value. The mention of “low-paying jobs” directly relates to the lack of decent work and fair wages for the protagonist.
   • Target 8.8: Protect labour rights and promote safe and secure working environments for all workers… and those in precarious employment. The subplot about a character “trying to unionize the store” is a direct reference to the struggle for labor rights, specifically the freedom of association and collective bargaining.
3. Under SDG 10 (Reduced Inequalities):
   • Target 10.2: By 2030, empower and promote the social, economic and political inclusion of all, irrespective of… economic or other status. The film’s central theme of “class disparities,” illustrated by swapping the lives of a homeless man and a “rich tech investor,” directly examines the barriers to social and economic inclusion faced by those in poverty.

3. Are there any indicators mentioned or implied in the article that can be used to measure progress towards the identified targets?

• Implied Indicator for Target 1.2: The article’s description of the protagonist “liv[ing] in his car” implies the issue of homelessness and housing instability, which are key measures related to the Proportion of population living below the national poverty line (Indicator 1.2.1). The character’s situation is a narrative representation of this indicator.
• Implied Indicator for Target 8.5: The phrase “low-paying jobs” implies a measure of wages. This connects to Average hourly earnings of employees (Indicator 8.5.1), as the character’s inability to afford basic housing is a direct result of low earnings.
• Implied Indicator for Target 8.8: The specific mention of a character “trying to unionize the store” directly relates to the concept of freedom of association. This is a qualitative example of what is measured by Level of national compliance with labour rights (freedom of association and collective bargaining) based on International Labour Organization (ILO) textual sources and national legislation (Indicator 8.8.2).
• Implied Indicator for Target 10.2: The film’s premise of “class disparities” and swapping the lives of the very poor and the very rich is a narrative exploration of income and wealth inequality. While not a specific number, this theme directly points to indicators that measure economic inequality, such as the Gini coefficient or the Proportion of people living below 50 per cent of median income (Indicator 10.2.1).

4. Summary Table of SDGs, Targets, and Indicators

Source: thedailytexan.com