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Film Review: ‘Da Sweet Blood of Jesus’

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Stephen Tyrone WIlliiams stars in the horror film "Da Sweet Blood of Jesus," directed by Spike Lee.

Stephen Tyrone Williams and Zaraah Abrahams star in the horror film “Da Sweet Blood of Jesus,” directed by Spike Lee.

 

By Dwight Brown
NNPA Film Critic

Spike Lee, the old guard of Black indie filmmaking, gets his mojo back with this classy, urbane vampireish art film that is a beauty to behold. Sophisticated, demented, eerie, erotic – prepare to be shocked and flabbergasted.

The root of the script is Bill Gunn’s 1973 blaxploitation film, Ganja & Hess. Lee takes some liberties, but Gunn’s stable, jaded storytelling holds its own 40 years later. An art-loving anthropologist, Dr. Hess Greene (Stephen Tyrone Williams), is stabbed by his assistant, Dr. Hightower (Elvis Nolasco) with an Ashanti artifact. Mysteriously that event changes his drink of choice to hemoglobin, and he prefers the brand that runs through women’s veins.

Greene, a wealthy erudite man, alternates his time between a swank New York apartment and a tony house in Martha’s Vineyard, where he has a “Man Friday,” Seneschal (Rami Malek, Ain’t Them Bodies Saints). Three is not a crowd when Hightower’s wife, Ganja (Zaraah Abrahams), knocks on his door looking for her man.

Blood for two, anyone?

If you’ve never seen the Gunn original, you are in for a lot of surprises. Some of the astonishing moments you would not expect from a Spike Lee movie include: Female and male nudity. A lesbian sex scene. More nudity. Blood sucking. Characters walking around in designer clothes as if they are headed for a runway. You can’t possibly guess where the film is going, and that, coupled with the erotic overtones and bloody violence, will keep you shocked and awed.

There is a good chance that you will sit through the 123 minutes, wishing someone (editor Randy Wilkins) had done just a little clipping here and there. You won’t, however, question the evocative cinematography (Daniel Patterson, Gunhill Road), the impeccable set decoration (Philippa Culpepper) and production design (Kay Lee, Blue Caprice), the natty costumes (Ruth E. Carter, Lee Daniel’s The Butler) or the entrancing musical score (Bruce Hornsby). Those elements are perfect and lift this film up.

Williams as the reticent, elegant Dr. Greene has a mystery about him. Abrahams brings a bit of fire to her lady-who-gets-turned role. Rami Malek chews up the scenery like it’s a pack of bubble gum. All are perfectly cast, fresh, almost unknown faces that don’t take away from the story. They are pawns, muses.

The footage feels like that of a commercial director mixed with a filmmaker’s sense of drama. The attention to the visuals, the pacing, getting the cast to act in a very even tone throughout is the mark of solid direction. This is a very consistently told film. There are no hiccups. None.

Lee eschewed the usual studio funding and raised the film’s $1.5 million budget by conducting a Kickstarter fundraising campaign. He didn’t have to answer to any studio executives, so it’s safe to say he did what he wanted to do. If his aim was to make a very tense, graphically brutal and sexy film that haunts you long after you leave the theater, he has succeeded.

After two-hours of witnessing this throat-munching movie you will need a stiff glass of something to calm your nerves. Don’t’ order a Bloody Mary. Trust me.

The job of a good horror film is to creep you out. This stylish and very jaded one does that.

A gripping, provocative and twisted film.

Visit NNPA Film Critic Dwight Brown at DwightBrownInk.com.

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Oakland Post: Week of February 11 = 17, 2026

The printed Weekly Edition of the Oakland Post: Week of – February 11 – 17, 2026

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Arts and Culture

Book Review: Books on Black History and Black Life for Kids

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

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Photo of Black History Month book covers by Terri Schlichenmeyer.
Photo of Black History Month book covers by Terri Schlichenmeyer.

By Terri Schlichenmeyer

Authors: Various, Copyright: c. 2025, 2026, Publishers: Various, SRPs: $17.99-$18.99, Page Counts: Various, 

Everybody in your family has stories to share.

Your parents have told you some, no doubt. Your grandparents have offered a few, too, and aunties and uncles have spun some good tales. But there’s so much more to know, so grab one of these great books and learn about Black History and Black life.

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

If someone said you couldn’t do something that you were clearly able to do, would you fight to do it anyhow?  In the new book, “Remember Her Name! Debbie Allen’s Rise to Fame” by Tami Charles, illustrated by Meredith Lucius (Charlesbridge, $17.99), a young girl in the Jim Crow South is told that she can’t dance because of the color of her skin.

She didn’t listen, though, and neither did her mother, who took her daughter to Mexico, where the girl soared! This is an inspiration for any 5-to-7-year-old; be sure to check out the back-of-the-book information, if you’re an adult fan.

Do you often hear your elders say things that sound like lessons?  They might be, so “Where There is Love: A Story of African Proverbs” by Shauntay Grant, illustrated by Leticia Moreno (Penguin Workshop, $18.99) is a book you’ll like. It’s a quick-to-read collection of short proverbs that you can say every day. Kids ages 4-to-6 will easily remember what they find in this book; again, look in the back for more information.

Surely, you love your neighborhood, which is why the tale inside “Main Street: A Community Story about Redlining” by Britt Hawthorne and Tiffany Jewell, illustrated by David Wilkerson (Penguin Kokila, $18.99) is a book for you.

Olivia’s neighborhood is having a block party, but she’s sad when no one shows up. That’s when she learns that “the government” is discriminating against the people and businesses near where she lives. So, what can she and her neighbors do? The answer might inspire 6-to-8-year-old kids to stand up to wrongs they see, and to help make their neighborhoods stronger and safer.

And finally, if a kid wants a book, where can they go to find it? In “I’m So Happy You’re Here: A Celebration of Library Joy” by Mychal Threets, illustrated by Lorraine Nam (Random House, $18.99) is a good introduction to the best of what a library has to offer. The freedom to walk into a library and borrow a book is the theme here, as is the sheer happiness of being welcomed, no matter who you are.  This is an easy book for kids as young as two and as old as five to enjoy.

On that note, if you want more, head to that library, or a nearby bookstore. They’ll be glad to see you. They’ve got stories to share.

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Activism

Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996.

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‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.
‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

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