One of Them Days, a continuum of Issa Rae’s producing power, follows two young black women racing to make rent in 9 hours. What transpires can be summed up easily as a fun-loving, absurdly hilarious, and heart-warming tale as the pair (who’s sisterly dynamic keeps you at ease throughout) trapeze through south-central LA. Alyssa (played by SZA in her acting debut) is a scatter-brained, bohemian artist whose lack of straightforward logic prompts her to entrust her and her roommate’s (Keke Palmer) rent money to her good for nothing, Greek-god of a “boyfriend.” Her better half (or at least more practical), Dreux, is the overworked, under appreciated night-shifter whose interview for a managerial position is set for the end of day.

As the two chase after f-boy turned thief (after he inevitably uses the money for nefarious purposes), they run into a whimsical band of cameo characters whose comedically played-up personas not only match the LA atmosphere, but play off the inherent absurdity of the movie. See, for instance, the all-too-wise homeless man (Katt Williams, a juggernaut of black cinema), or stripper turned nurse—then back to stripper by the end (Janelle James).

One of Them Days grounds itself not in reality, but in relatability as each character feels like the Hollywood-hilarity version of someone you know, even if you can’t directly relate to the So-Cal atmosphere. You end up rooting for everyone at some point as the movie intentionally adds layers of humility to each character, while of course preserving their over-the-top persona. In short, no character feels like a cheap, inauthentic imitation there just to deliver cheesy one-liners or cash in on stereotypes. This makes the movie not only 10 times funnier, but adds a layer of depth to the cinematic experience that can only be appreciated some 10 years later after your first watch. Like the old Friday dvd that gets funnier each time you watch it, or the years old SNL skit you watch when you need a good laugh. Not only does the movie feel as comforting (thanks even more to the heart-warming ending and village-like apartment complex dynamic) as it is funny, but the movie feels thoughtful and intentional throughout.

Whether that was channeled through impeccable acting all around, or the writer’s ability to make every joke feel refreshing and natural. It proves to be a piece of excellent entertainment and performance as the audience is put at ease the entire time, never anxious the movie itself or actors would drop the ball and deliver a clunky line or a confusing plot point.

Thanks in big part to a nearly all-black production and directing team, respectively spearheaded by two burgeoning talents in behind-the-scenes work, Issa Rae and Lawrence Lamont, the film gives the power of impactful cinematic storytelling to the subjects of the stories themselves. That’s exactly why this movie is important, as in this time of intensifying racism, movies like this, symbols of unapologetic imperfection, real depictions of black people as more than one-note stereotypes, and relatable authenticity are as incredibly important as they are entertaining.