Written by Shelby Kennedy
Young women tackle dance routines the way they tackle college applications: with an attitude that says “you’re going to look at me and remember.” Long-time producer of successful Broadway productions – “Modern Orthodox” and “The Humans” – Amanda Lipitz finally directs her first film: “Step,” a documentary showing the struggles of three high school seniors (Blessin Giraldo, Cori Grainger and Tayla Solomon) at the Baltimore Leadership School for Young Women.
Right from the start, we witness their motto: if one doesn’t make it to college, then no one makes it. It is a timely release, a reminder that America, too, is only a nation together, not apart.
Lipitz widens our perspective enough to capture the importance of a sisterhood that transcends age and race. Not only do the fellow members of the step team band together, but their mothers add support, as do Gari, the coach, and Paula, the director of college counseling. Lipitz incorporates shots to capture all their contributions to a single cause: a 100% college acceptance rate for the 2016 senior class.
In one scene, Paula pleads for a university to heavily consider Blessin Giraldo. She knows it’s unprofessional, but she begins to cry anyway. The audience feels the pressure of the Baltimore community trying to rise from the violent murders that the city is known for, especially the fear of repeating the cycle.
When the girls aren’t taking practice seriously, Lipitz narrows in on Gari’s disappointment to create another powerful moment. The coach makes the team do squats on the wall. In a stunning visual metaphor, Lipitz zooms in on each of the girls struggling under the weight of not just themselves, but of what they are representing. Only through determination will each of them break the African American stereotype of a woman.
When interviewed, Lipitz mentioned, “I’m really inspired by music,” and it clearly shows in “Step.” We hear the power of the practice routines of stomps and chants. “Making music with our bodies. That’s something innit?” Blessin smiles at the camera. The rest of the film is signaled by the rise and fall of gospel, Beyoncé’s “Formation” or Fifth Harmony’s “Worth it.”
There is such a personal touch because Lipitz has known these girls for years. She has followed them through their lives since they were 11 years old. This trust is revealed through a lone tear, touching truths and childhood photographs.
“I have a lot of dreams, and maybe I dream too much,” Blessin says, half unsure about herself.
Lipitz holds a special film in her hands, and she guides us through it beautifully, tugging our emotions to cry, laugh or cheer. After watching the documentary it’s clear the last thing any of these young women did was dream too much.
