We are told repeatedly of the house's location at Golden Gate and Fillmore. When we first see the house, however, the camera pans away and we can see a street sign--it is somewhat blurred, but it clearly says "20th." Neither 20th St. nor 20th Ave. are anywhere near that location. Articles about the making of the film note that the house that provided exterior location shots is actually on So. Van Ness between 20th and 21st Streets.
Mostly, though, The Last Black Man in San Francisco — which is what Jimmie sometimes feels like in the gentrifying city of his birth — glides from moment to meaningful moment with cumulative power and singular grace.
San Francisco may be waging war against its most vulnerable residents, but if you can enjoy its beauty, as Jimmie and Montgomery do for a magical few days, its unique picturesqueness makes it easy to love.
All the dramatic components have not only been well thought out by Talbot and co-writer Rob Richert, but they’re adorned, for the most part, by a sense of reality that keeps pretentiousness at bay. To be sure, this is a highly calculated and worked-out story, but the humor and lively playing of the entire cast keeps the film aloft across its two hours.