“Bad Axe” is a frustrating film for reasons that have less to do with cinematic quality or journalistic integrity than historical proximity. Could it be that this meditation on the promise of America as viewed through a kaleidoscope fractured by Covid, Donald Trump, and the death of George Floyd has come along too soon? As Americans attend to the daunting task of shaking off the last couple of years, “Bad Axe” brings us back to Square One. 

Director and producer David Siev, a self-described jack of all trades, left New York City at the beginning of lockdown to quarantine with his family at Bad Axe, Michigan, a city that’s about a two-hour drive from Detroit. As of the latest Census, Bad Axe had a population hovering around 3,000 people.

How, exactly, Chun Siev — that would be David’s father — landed in this rural outpost is never elaborated upon. A native of Cambodia, Chun escaped the genocidal initiatives of the Khmer Rouge in 1979, having been shepherded along with five siblings by a mother intent on seeking a safe haven in the United States. Seven years later, Chun came upon the love of his life, a waitress of Mexican descent, while dining in a Chinese restaurant.

After marrying, Chun and Rachel opened a doughnut shop; extra income was generated by Chun teaching classes in tae kwon do. When doughnuts didn’t pay the bills, the couple transformed the premises into “Rachel’s,” a full-fledged  restaurant. As soon as the children were old enough, they were drafted into the family business. The oldest daughter Jaclyn, now 30-something, has been on the job since age 11.

Jaclyn has also returned to her parent’s home, bringing husband Mike in tow. Additionally, there’s younger sister Raquel, who’ll soon be graduating from college, and her boyfriend Austin. Mr. Siev’s girlfriend, Kat, is seen and heard on the periphery, as is, from time to time, the filmmaker himself. The entirety of the family helps out in the restaurant to insure its continuing viability.

The crew adopts a new menu when lockdown measures begin to wreak havoc with the restaurant’s standard operating procedure. Jaclyn takes over the reins of the family business and is subsequently subject to Chun’s “Type A” protestations. What the “A” stands for, as put forth in Chun’s own words, can’t be repeated here. If assimilation involves the vociferous use of four-letter words, the family patriarch is nothing short of All-American.

That, and he’s become adept at using firearms. Among the more striking moments in “Bad Axe” is when Chun gives family members a lesson in shooting. During a homily on self-defense, he grabs the muzzle of a gun Austin is holding and points it at his own head. Notwithstanding that the gun isn’t loaded, this scene has an unnerving correspondence with the documentary footage of the Killing Fields that Mr. Siev has interspersed within “Bad Axe.”

When the Siev family — or, rather, its younger members — participate in a Black Lives Matter rally, tensions arise within the community. White nationalists attend the demonstration and a shouting match ensues, with the Siev sisters giving as good as they get. Later, Mr. Siev’s camera lights upon an obstreperous group of customers who refuse to mask-up when picking up orders at Rachel’s. When he posts a clip of “Bad Axe” on social media in order to raise funds for the film, the family starts to receive threats. Unknown assailants begin stalking Raquel. Jaclyn asks dad for the gun.

What “Bad Axe” details all too well is the confusion, despair, and desperation brought about by the cultural and political foments of 2020. In that regard, Mr. Siev’s film confirms that hindsight, besides being 20/20, can also temper extremes and even prompt a degree of forgiveness. 

One’s frustration with the body politic shouldn’t color Mr. Siev’s achievement. He’s highlighted another facet of American life that is, in the end and against considerable travails, as much of a love letter as its maker intends.