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FILM REVIEW: Arctic

NNPA NEWSWIRE — Penna and co-writer Ryan Morrison have given this bone-chilling adventure a very simple premise: Man against nature, man against himself.

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By Dwight Brown NNPA News Wire Film Critic

English singer/writer David Gray released a very evocative song in 2014 called “Birds of the High Arctic.” The verse is about a lost lover and the poignant refrain says: They’re calling. Like the birds of the high Arctic. “This darling. For the light in your eyes sparked it. Two sheets to the wind.” In just a few words and with a pleading voice Gray conjures visions of the cold barren Arctic that are indelible and haunting.

Mads Mikkelsen stars as Overgård in ARCTIC, a Bleecker Street release.
Credit: Helen Sloan SMPSP / Bleecker Street

First-time filmmaker Joe Penna is a musician who created the internationally popular YouTube  channel, MysteryGuitarMan. The channel became a viral sensation and he amassed two million followers. He’s shot commercials (Coca Cola and McDonald’s) and short films (Turning Point). Arctic pulls his skills into the feature-film format where he demonstrates the basic mechanics of filmmaking but not the artistry. Nothing sticks with you, nothing is visually stunning or memorable.

Overgård (Mads Mikkelsen, The Hunt, Casino Royale) is stranded in the Arctic. His only shelter is what’s left of his plane, which crashed into the icy, barren wilderness. To add a grain of sanity to his endless days and nights, he keeps a routine. According to periodic alarms on his watch, he gets up, fishes, works on a rescue sign and looks for a radio signal. He confronts the freezing elements and the occasional stare of a polar bear. It’s a lonely, melancholic existence that won’t change unless there is a new stimulus. That spark comes after a rescue helicopter crashes, leaving another survivor (Maria Thelma Smáradóttir, Prisoners). Now Overgård is fighting the elements and making life-saving choices for two.

Penna and co-writer Ryan Morrison have given this bone-chilling adventure a very simple premise: Man against nature, man against himself. You don’t see the plane crash. There is no backstory. You don’t know how the central character got himself into such a bleak situation, or why he has superior survival skills and can fix electronics. The writers and director don’t let viewers put the protagonist’s dilemma into perspective, and that’s a gutsy or foolhardy choice, depending. Still, the set-up and location is so unique that many will go along on this improbable excursion, regardless.

Mads Mikkelsen stars as Overgård in ARCTIC, a Bleecker Street release.
Credit: Helen Sloan SMPSP / Bleecker Street

Penna’s direction is adequate. No major mistakes. No fits of genius. Cinematographer Tómas Örn Tómasson (Pacific Rim: Uprising) has missed an opportunity to make the wintry scenes look gorgeous or ghostly. Instead, it’s as if he shot the unexciting footage on a smartphone. Ryan Morrison’s editing manages a solid tempo for 97 minutes. Joseph Trapanese (Straight Outta Compton) creates a musical score that stays in the background and never intrudes. The tech aspects are neither a credit or a hindrance.

With a cast of just two actors and virtually no dialogue, the weight of the film rests on veteran Danish actor Mads Mikkelsen. Most of the time he has no one to talk to. It’s just him, pulling the story forward and making his emotions (fear, anger, courage, indecision, regret) the central focus. Facial expressions, his walk and other non-verbal communications give his character depth. There are many instances that require Overgård to make monumental choices and live with the consequences. You can see the gravity of those decisions in Mikkelsen’s eyes.

The film doesn’t display a brutal, raw realism that blows your mind. The finale is fitting, not a shocker that will make your heart race (The Vanishing, 1988). The climax is not an escape from a deadly situation, although there are a few of those. Instead, the most dramatic, stomach-turning scene is when the protagonist must come to terms with the karma he faces for putting his needs first. This is the “aha” moment when the thin screenplay finds another dimension and Penna proves he’s more than just a trendy YouTube video entrepreneur.

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Arctic has a very similar feel to the James Franco film 127 Hours, where a hiker gets himself stuck in-between two boulders and resorts to cutting off part of his arm to escape. The hubris in that character made it a challenge to empathize with his dilemma. Overgård is humble and likable throughout.

There isn’t anything gross or repugnant about what’s on view, like in the disaster movie Alive, when a Uruguayan rugby team ate each other to stay live. Audiences looking for a basic survival film will likely be satiated. Penna’s simple storytelling and perfunctory direction is tolerable and Mikkelsen’s stirring performance brings what’s on view up a notch.

Arctic doesn’t have a long-lasting impact. Without artistry and an indelible atmospheric impression, it’s just another film you’ll vaguely remember. What’s missing is the kind of haunting feeling sensitive artists like David Gray can conjure.

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.

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Black History

Oakland Protesters Rally to Defend Haitian Immigrants and TPS

The Haiti Action Committee traces its roots to the international movement that emerged following Haiti’s 1991 military coup, which overthrew the nation’s first democratically elected president, Jean-Bertrand Aristide. Political violence sent thousands of Haitians fleeing the country, while U.S. policies resulted in refugees being intercepted at sea, repatriated, or detained at Guantanamo Bay.

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Activists Gerald Smith and Romaine Charite at 14th and Broadway in downtown Oakland near City Hall protest in support of Haitian immigrant rights. Photo by Carla Thomas

Protesters gathered in downtown Oakland near City Hall at 14th Street and Broadway on Thursday, Aug. 13, calling for protections for Haitian immigrants and an end to deportation policies affecting Haitian communities across the United States.

Organized as a call to action by the Legalization for All Network and supported by the Haiti Action Committee and other community organizations, the demonstration carried a clear message: Defend TPS! Legalization, Not Deportation!”

Participants focused attention on the termination of Temporary Protected Status, or TPS, for Haiti and immigration policies protesters described as continuing attacks on Haitian immigrants under the Trump administration.

Haitian Romaine Charite of the Freedom Road Socialist Organization urged demonstrators to stand with Haitian families and led chants:

“When Haitians are under attack, what do we do? We fight back.”

Injustice to one is an injustice to us all.”

“Dump Trump!”

Charite and other protesters condemned the federal government’s treatment of Haitian immigrants, describing the policies as an attack on a population already facing extraordinary hardship.

Haiti’s TPS designation was terminated effective July 27, 2026, removing temporary deportation protections and work authorization for hundreds of thousands of Haitian beneficiaries who lacked another legal basis to remain in the United States.

Gerald Smith, a protester and former member of the Black Panther Party during the 1970s, said Haitians were being unfairly targeted and warned that ending TPS would have a devastating impact on Haitian families and communities.

“These policies are racially motivated and unfair,” Smith said. “Everyone deserves the right to self-determination and protection from persecution.”

The Haiti Action Committee cited the continuing political, economic and humanitarian crisis in Haiti as evidence that returning large numbers of immigrants to the country could place already vulnerable people at greater risk.

The Oakland gathering, which drew about 20 participants, reflected a decades-long history of Bay Area activism surrounding Haitian democracy, refugee rights and U.S. immigration policy.

The Haiti Action Committee traces its roots to the international movement that emerged following Haiti’s 1991 military coup, which overthrew the nation’s first democratically elected president, Jean-Bertrand Aristide. Political violence sent thousands of Haitians fleeing the country, while U.S. policies resulted in refugees being intercepted at sea, repatriated or detained at Guantanamo Bay.

Those policies sparked protests involving Haitian communities, Black activists, artists, college students, churches, labor organizations and human rights advocates. Prominent figures, including dancer and activist Katherine Dunham, tennis champion Arthur Ashe, and TransAfrica leader Randall Robinson, joined campaigns challenging the treatment of Haitian refugees.

In 1992, Haiti Action Committee joined other Bay Area organizations in a dramatic demonstration on San Francisco Bay. Boats carrying Haitian participants were intercepted by the U.S. Coast Guard while supporters gathered along the waterfront and reportedly chanted, “Let Them Land!”

More than three decades later, protesters have returned to the streets of Oakland, centering on protecting Haitian immigrants, opposing deportation and pressing for immigration policies that provide families with a pathway toward permanent legal residency.

For more information, visit Haitisolidarity.net.

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Commentary

From Palestine to Oakland: Seeds for Liberation Examines Shared Struggles for Freedom

The screening was hosted by the East Bay Democratic Socialists of America and the Dr. Huey P. Newton Foundation. Following the film, director Matthew Solomon joined local community leaders for a discussion about solidarity, resistance, and the historical connections explored throughout the documentary.

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Documentary film, "Seeds for Liberation," highlights the Palestinian struggle and the shared fight for freedom and liberation in the United States and abroad. Graphic courtesy of www.seedsforliberationmovie.com

Community members gathered at the Black Panther Party Museum on Saturday, Aug. 15, in downtown Oakland for a screening of “Seeds for Liberation,” an award-winning documentary examining the Palestinian liberation movement and its connections to Black, Chicano and other movements for collective liberation.

The film reveals the face of conflict, struggle, and injustice today and yesterday. In one scene, a bleeding child pleads for help on a shell-shattered rooftop after a bombing in the Gaza Strip last year. In another scene, newly freed Nelson Mandela addresses thousands at the Oakland Coliseum in 1990, at the end of apartheid.

The screening was hosted by the East Bay Democratic Socialists of America and the Dr. Huey P. Newton Foundation. Following the film, director Matthew Solomon joined local community leaders for a discussion about solidarity, resistance, and the historical connections explored throughout the documentary. 

Directed by Solomon and executive-produced by Donna Hadjikhani and Alana Hadid, “Seeds for Liberation” situates Palestinian experiences within the broader history of anti-imperialist and decolonial movements.

Through interviews with historians, legal scholars, activists and organizers, the documentary examines Palestinian resistance. It also details the role of social media in shaping the public’s understanding of the impact of Palestine’s 77-year occupation by Israeli forces, events in Gaza and the West Bank, and relationships between liberation movements across generations and geographic boundaries.

The film includes perspectives of people connected to the Black Liberation Army, La Raza Unida and the Stop Cop City movement. Those featured talk about colonialism, U.S. foreign policy, policing, racial justice and their views of what solidarity with Palestinians has meant.

Solomon developed the documentary following his previous film, “Reimagining Safety,” which explored alternatives to traditional policing.

“I use film as a medium to connect personal testimony with larger social and political questions,” said Solomon, who is currently touring the film across the nation as well as Canada and other countries.

Executive producer Hadjikhani brought a personal connection to the project. An Iranian American designer and social justice advocate, she traveled to Gaza and the West Bank as a college student in 1993 during the First Intifada. Hadid has since focused on Palestinian stories and other underrepresented voices.

The Oakland screening carried added historical significance because it was held in the Black Panther Party Museum, where the history of Black resistance and community organizing provided a backdrop for the film’s examination of interconnected struggles.

Activist and artist Cat Brooks passionately spoke about the fight for the freedom of all people. “No one is free until everyone is free,” she said.

Brooks played a key role in the struggle for justice for Oscar Grant, who was gunned down by a BART police officer in 2009 and is co-founder of the Anti Police-Terror Project (APTP), whose mission is to rapidly respond to and ultimately eradicate state violence in communities of color. 

Rather than treating liberation movements as isolated chapters, “Seeds for Liberation” asks audiences to consider how movements separated by time, race and geography have influenced one another and how solidarity has continued to evolve across generations. 

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Black History

NABJ Convention Brings Black Journalists, Civic Leaders Together in Atlanta

Among the conference’s most closely watched sessions was Thursday’s Newsmaker Plenary, where House Democratic Leader Hakeem Jeffries discussed the national political climate with NABJ President Errin Haines. Journalist Joy-Ann Reid later led a fireside conversation with legal scholar Kimberlé Crenshaw, creator of the term “intersectionality,” and Pulitzer Prize-winning journalist Nikole Hannah-Jones, author of the 1619 Project.

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Civil Rights Attorney Ben Crump (left), House Majority Leader Hakeem Jeffries (middle), Rev. Al Sharpton (right) stand at the NABJ conference in Atlanta on Aug. 13 with Elmore and Christine Wonsley, the parents of Nolan Wells, a Black 18-year-old who died July 4th weekend in Mississippi

ATLANTA—The 52nd National Association of Black Journalists conference brought thousands of journalists, students, media executives and civic leaders to Atlanta Aug. 12-16 for its 2026 Convention and Career Fair, a five-day gathering centered on the theme “Our Revolution: Truth, Power and Black Journalism.”

Among the conference’s most closely watched sessions was Thursday’s Newsmaker Plenary, where House Democratic Leader Hakeem Jeffries discussed the national political climate with NABJ President Errin Haines. Journalist Joy-Ann Reid later led a fireside conversation with legal scholar Kimberlé Crenshaw, creator of the term “intersectionality,” and Pulitzer Prize-winning journalist Nikole Hannah-Jones, author of the 1619 Project.

The plenary also turned toward grief, accountability and justice as the parents of 18-year-old Nolan Wells, Christine Wells-Wonsley and Elmore Wonsley, appeared with civil rights attorney Ben Crump and the Rev. Al Sharpton. Crump was also the attorney for Trayvon Martin’s, Michael Brown’s, and Tamir Rice’s families. Moderated by journalist Tiffany Cross, the Wells family’s appearance focused on unanswered questions surrounding Nolan’s July death in Mississippi and calls for a federal review.

Reid and journalist Don Lemon also joined a separate discussion with Cross, columnist Michael Harriot and journalist Chandra Whitfield about career disruption, resilience and building independent platforms as Black journalists face layoffs and wider media industry upheaval.

Across generations, attendees exchanged ideas about sustaining careers and serving Black communities.

The gathering reflected NABJ’s long-standing role as both professional home and public forum for Black journalists. For Black-owned legacy newspapers, including ours, the Atlanta convention reinforced a familiar mandate: defend truth, elevate Black voices and connect national debates over politics, justice and media power to the communities most affected.

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