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FILM REVIEW: Black Films Thrive at Sundance Film Festival 2022

NNPA NEWSWIRE — At the last minute, due to Omicron concerns, the 2022 Sundance Film Festival morphed from an in-person and virtual event to a purely digital experience. Thanks to streaming, Black filmmakers and Black films were on center stage all over the world. Check them out…
The post FILM REVIEW: Black Films Thrive at Sundance Film Festival 2022 first appeared on BlackPressUSA.

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By Dwight Brown, NNPA Newswire Film Critic

At the last minute, due to Omicron concerns, the 2022 Sundance Film Festival morphed from an in-person and virtual event to a purely digital experience. Thanks to streaming, Black filmmakers and Black films were on center stage all over the world. Check them out…

Aftershock (***)

According to WHO, the U.S. ranks 60th on the list of countries with the lowest maternal mortality ratio. The Population Reference Bureau cites, “Black women are three times more likely to die in pregnancy postpartum than white women.” Directors Paula Eiselt and Tonya Lewis Lee’s illuminating documentary breaks down the contributing factors and possible solutions for maternal mortality in the aftermath of two specific women’s deaths. Shamony Gibson and Amber Rose Isaac both died after labor and a grassroots movement for birth justice and equity, in their honor, is heroically launched by Omari Maynard and Bruce McIntyre, the fathers of their children. The courageous dads, like shamans, guide you through the perils and needs for a change in obstetric care from pregnancy to births, to aftercare.

Systemic issues (hospitals profit more from risky, fast-buck C-Sections than slow vaginal births), disparities, root causes and communication errors are revealed. Notably a job once done by black slave midwives is now the domain of white male OB-GYNs. Watching the consciousness-raising support groups of widowed Black men is as inspiring as a thousand Million Man Marches. Very solid doc filmmaking instincts reflect an empowering movement born from painful experiences. The revolution in pre- and postnatal care for Black women will be Instagrammed, Twitted, Facebooked…

Descendant (***1/2)

A yearning for a definitive history is the driving force of this heart-warming doc. The Cotilda schooner was the last American slave ship to bring Africans to the U.S. The imprisoned captives from Benin arrived in Mobile Alabama in 1860. The Black descendants of that ship settled in Africatown, which has since been parceled away by public domain highway projects, a lumber yard and other businesses. Still the proud residents keep their history alive, orally, passing on info, names and dates to future generations who become historians and record keepers.

Director Margaret Brown captures the spiritual experiences of these chosen Alabamians. She films their interviews just as a white journalist and white owner of a mechanic’s shop decide to look for the ship that was burned by its owner Timothy Meaher and hidden in neighboring swamps.

Brown’s chronicling of this hunt and what it means to the heirs of the Cotilda’s last passengers is never obtrusive. Her style is reminiscent of the grassroots doc Something in the Water. Culture, history, reckoning and reparations all add a richness that makes the film emotionally compelling. Grainy footage of the ship’s last survivor Cudjo Lewis, as filmed by author Zora Neale Hurston in the 1930s, is as astounding to see as an heir of Meaher’s showing up for a ship discovery ceremony. These stalwart descendants of slavery save their culture and history. Their tenacity and courage prevail in a very illuminating way.

Emergency (**)

In Weekend at Bernie’s, three white guys tooled around with a dead body in a mildly funny one-joke movie. In this similarly premised college life satire, the laughs aren’t as easy. African American director Carey Williams and Mexican American screenwriter KD Davila’s spoof delves into the hazards of Black life at a predominately white school. Kunle (Donald Elise Watkins, The Underground Railroad) is a brilliant pre-med student. His loosely wired, vape-smoking buddy Sean (RJ Cyler, The Harder They Fall) is a devil-may-care pothead. They intend to go on a legendary party circuit bender, but before their first beer pong, they discover a drunk, unconscious white blonde (Maddie Nichols) on their living room floor. A Latino roommate Carlos (Sebastian Chacon) is oblivious. The trio tries get the cataleptic girl to safety, which takes them down a deep rabbit hole of mishaps.

What’s on view is a very shallow attempt at exploring racism that turns into nothing more than a trivial excuse for comic debauchery. The very young black hip-hop influenced dialogue is the film’s strongest element. Stagnant dialogue-heavy scenes thwart most good intentions. Watkins and Cyler exhibit a Harold and Kumar chemistry that would feel better in another movie. There’s just enough story and humor here for a SNL skit. Not much more. Trying to make serious points in a pointless film is a worthless endeavor.

Honk for Jesus. Save Your Soul (**)

“Where’s Tyler Perry when you need him?!” Pastor Lee Curtis Charles (Sterling K. Brown) and his wife Trinitie (Regina Hall) run a Southern megachurch named Wander to Greater Paths. The place is near empty. Why? Evidently a preacher man being caught up in a sex scandal drives congregations away. But the duo is charting a comeback, even if it requires standing at the side of a road with placards begging for parishioners and humiliating themselves while being filmed.

The Ebo twins (writer-director Adamma Ebo, producer Adanne Ebo) start with a promising parody that descends unto a two-character thud. The dearth of solid narrative and consistent comedy leaves Brown and Hall stranded. The twins frame shots well, but don’t know how to milk moments or sustain scenes with biting verbal or physical humor. Brother Brown’s interpretation of a clueless, smarmy minister is glorious (Can I get an amen?!). Sister Hall perfectly finds the nuances of the put-upon wife (Praise be.). Funniest scene is when they drive a Cadillac Esplanade singing to a rap song, cursing and screaming like gangstas. Pity the film runs out of gas. Madea would have known what to do. Looks low budget. Feels low rent. Jesus wept.

jeen-yuhs: A Kanye Trilogy (***)

Ten minutes into this lively documentation of 21-year-old Kanye West the unsettling contrasts between this hopeful, humble adolescent and his embittered and inflated persona these days is quite jarring. Chicago public access TV host Coodie chronicled West’s pilgrimage from Chicago to New York in the late ‘90s as he tried to transition from music producer to superstar rapper. Fuzzy-looking footage reveals all. Consider Coodie’s homage to be more like a home movie/travelogue with famous people (Damon Dash, Pharrell) than a typical doc. No video tricks. No gimmicks. No mounds of news footage, interviews etc. Just largely an unfiltered look at West fighting for a record deal at hop-hop’s holy grail, Roc-A-Fella Records.

The most touching scenes are West and his wise, nurturing schoolteacher mother who wants him to remain humble: “You can stand on the ground with your head in the air at the same time.” The most awkward scenes are watching Jay-Z, RR’s CEO, keep Kanye at bay: he wants the milk (West’s “jeen-yuhs” producing) but not the cow (Kanye as a rapper). The fly-on-the-wall filmmaking lets you cavort with family, friends, adversaries, mentors and hangers-on. Discovering West’s middle-class background explains his early brand of rap and its often-spiritual elements, which are evidenced in the making of his classic hit “Jesus Walks.” West, with no gangsta cred whatsoever, was on a mission: “I’m gonna bridge the gap to hip-hop.” And he did, with a verve and naiveté that was reflected on his smiling face. Luckily, Coodie documented the good old days, or no one would believe the 1990’s West and the 2022 Ye were the same people.

Master (*1/2)

If you’re going to examine racism through the prism of a horror movie, and exploit that social ill, you’d better have all your dead bodies lined up just right. This Get Out knockoff does not. Jasmine (Zoe Renee) is a first-year student at the nearly all white Ancaster College. Gail (Regina Hall) is the new dean of students, aka Master. Both experience the slights and mockery whites can put on token Blacks. In addition, Jas’s room is haunted. Cue the ghosts, creaky noises, weird nightmares and freaky images.

Mariama Diallo’s script and direction attempt to bait audiences’ attention with racist tropes (nooses, cross burnings, racial epithets). Cheapening those real-life traumas peaks in a scene when a rap song comes on at a nearly all-white dance party and white kids surround Jas chanting the “N” word lyrics at her. The constant repulsion without any redemption or payoff is an unforgivable buzz kill. Even through the misguidance, Hall’s presence shines like the North Star. Unoriginal. Derivative. Lackluster. If you’re going to mess with the horror movie genre recipe you have to do it with better ingredients. Diallo does not.

Nanny (**1/2)

African immigrant stories often possess an innate appeal. In this instance, Senegalese writer/director Nikyatu Jusu’s odd mixture of horror, thriller, romance and muddled family drama has the opposite effect. Aisha (Anna Diop), a twentysomething from Senegal, leaves her young son behind to find work in New York. A white couple (Michelle Monaghan and Morgan Spector) hires her to tend to their young daughter Rose (Rose Decker). The wealthy spouses are lax with pay, Aisha loses communication with her son and weird visions of a boy in rain haunt her.

Supernatural aspects and cryptic images have no context for 90 minutes of this 97-minute motion picture. Regardless of the iffy narrative choices, Jusu and cinematographer Rina Yang make a very attractive film that displays their excellent taste in staging, composition, angles, lighting, etc. Scenes look fresh and modern. The director also excels at depicting a love story between Aisha and an understanding doorman (Sinqua Walls, American Soul). Jusu shows great promise as a director. Even a genre-messy film can’t hide her talent.

We Need to Talk About Bill Cosby (***)

Really?! Is there some explosive secret about the shamed comedian that has yet to be revealed? Stand-up comic turned documentarian W. Kamau Bell thinks so. To make his case, he assembles an exhaustive array of talking heads (Roland Martin), comedians (Hannibal Buress), rape crisis counselors and even a journalist who investigates date rape drugs. Cosby’s well-publicized fall from ’60s TV pioneer (I, Spy), to 1980s/’90s quintessential all-American boob tube daddy (The Cosby Show), to convicted, imprisoned felon is meticulously charted. Victim after victim exposes his pattern of drugging, assaults and rapes. The black community’s initial ambivalent feelings are pondered. His hypocritical jabs at young black men while he’s molesting women are documented too.

Two hours of this in-your face negativity is more than enough. Four one-hour segments are overkill. Too many clips of Fat Albert. Too much faux indignation over stupid stuff like Cosby playing an obstetrician on The Cosby Show. The barrage of info will test your patience. Also, watching folks hypothesize as they sit on expensive leather coaches, dressed like fashionistas and lit like they’re in a fashion shoot is off-putting. But credit Bell for his inventive style. Incriminating words dance across the screen and victims are noted on a horizontal calendar that pinpoints Cosby’s crimes from the ‘60s, ‘70s, ‘80s and 90s. Plus, Bell’s insights into black culture, history and the TV industry are thorough and sometimes profound.

Indicting rapists like Cosby is fair game and newsworthy. But many viewers may wish the second two hours of this doc were spent teaching women how to beware of predatory situations, detect rapists, self-defense, report incidents and find supportive aide (e.g., rape crisis centers). We have talks with our sons about encounters with police. Why don’t we have talks with our daughters about dealing with people like him? Bell and this doc had a chance to be an advocate for rape victims and provide a public service. It’s a missed opportunity that would have given the series some depth.

There wouldn’t be a President Obama without a Bill Cosby. There wouldn’t be 60+ rape victims without a Bill Cosby. It’s an ugly paradox now captured on film.

For more information about the annual Sundance Film Festival go to: https://www.sundance.org/festivals/sundance-film-festival/about.

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

The post FILM REVIEW: Black Films Thrive at Sundance Film Festival 2022 first appeared on BlackPressUSA.

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Beloved Actor and Activist Louis Cameron Gossett Jr. Dies at 87

NNPA NEWSWIRE — Louis Gossett Jr., the groundbreaking actor whose career spanned over five decades and who became the first Black actor to win an Academy Award as Best Supporting Actor for his memorable role in “An Officer and a Gentleman,” has died. Gossett, who was born on May 27, 1936, in Brooklyn, N.Y., was 87. Recognized early on for his resilience and nearly unmatched determination, Gossett arrived in Los Angeles in 1967 after a stint on Broadway.
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By Stacy M. Brown
NNPA Newswire Senior National Correspondent

@StacyBrownMedia

Louis Gossett Jr., the groundbreaking actor whose career spanned over five decades and who became the first Black actor to win an Academy Award as Best Supporting Actor for his memorable role in “An Officer and a Gentleman,” has died. Gossett, who was born on May 27, 1936, in Brooklyn, N.Y., was 87. Recognized early on for his resilience and nearly unmatched determination, Gossett arrived in Los Angeles in 1967 after a stint on Broadway.

He sometimes spoke of being pulled over by law enforcement en route to Beverly Hills, once being handcuffed to a tree, which he remembered as a jarring introduction to the racial tensions of Hollywood. In his memoir “An Actor and a Gentleman,” Gossett recounted the ordeal, noting the challenges faced by Black artists in the industry. Despite the hurdles, Gossett’s talent shone brightly, earning him acclaim in groundbreaking productions such as “A Raisin in the Sun” alongside Sidney Poitier. His Emmy-winning portrayal of Fiddler in “Roots” solidified his status as a trailblazer, navigating a landscape fraught with racial prejudice.

According to the HistoryMakers, which interviewed him in 2005, Gossett’s journey into the limelight began during his formative years at PS 135 and Mark Twain Junior High School, where he demonstrated early leadership as the student body president. His passion for the arts blossomed when he starred in a “You Can’t Take It With You” production at Abraham Lincoln High School, catching the attention of talent scouts who propelled him onto Broadway’s stage in “Take A Giant Step.” His stellar performance earned him the prestigious Donaldson Award for Best Newcomer to Theatre in 1952. Though initially drawn to sports, Gossett’s towering 6’4” frame and athletic prowess led him to receive a basketball scholarship at New York University. Despite being drafted by the New York Knicks in 1958, Gossett pursued his love for acting, honing his craft at The Actors Studio under the tutelage of luminaries like John Sticks and Peggy Fury.

In 1961, Gossett’s talent caught the eye of Broadway directors, leading to roles in acclaimed productions such as “Raisin in the Sun” and “The Blacks,” alongside legends like James Earl Jones, Cicely Tyson, Roscoe Lee Brown, and Maya Angelou. Transitioning seamlessly to television, Gossett graced small screens with appearances in notable shows like “The Bush Baby” and “Companions in Nightmare.” Gossett’s silver screen breakthrough came with his role in “The Landlord,” paving the way for a prolific filmography that spanned over 50 movies and hundreds of television shows. From “Skin Game” to “Lackawanna Blues,” Gossett captivated audiences with his commanding presence and versatile performances.

However, his portrayal of “Fiddler” in Alex Haley’s groundbreaking miniseries “Roots” earned Gossett critical acclaim, including an Emmy Award. The HistoryMakers noted that his golden touch extended to the big screen, where his role as Sergeant Emil Foley in “An Officer and a Gentleman” earned him an Academy Award for Best Supporting Actor, making him a trailblazer in Hollywood history.

Beyond the glitz and glamour of Hollywood, Gossett was deeply committed to community activism. In 1964, he co-founded a theater group for troubled youth alongside James Earl Jones and Paul Sorvino, setting the stage for his lifelong dedication to mentoring and inspiring the next generation. Gossett’s tireless advocacy for racial equality culminated in the establishment of Eracism, a nonprofit organization dedicated to combating racism both domestically and abroad. Throughout his illustrious career, Gossett remained a beacon of strength and resilience, using his platform to uplift marginalized voices and champion social change. Gossett is survived by his children, Satie and Sharron.

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COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration

WASHINGTON INFORMER — The D.C. crime bill and so many others like it are reminiscent of the ‘94 crime bill, which produced new and harsher criminal sentences, helped deploy thousands of police and surveilling methods in Black and brown communities, and incentivized more states to build prisons through a massive infusion of federal funding. While it is not at the root of mass incarceration, it significantly accelerated it, forcing a generation of Black and brown families into a never-ending cycle of state-sanctioned violence and incarceration.
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By Kaili Moss and Jillian Burford | Washington Informer

Mayor Bowser has signed the “Secure DC” omnibus bill passed by the D.C. Council last month. But we already know that this bill will be disastrous for all of D.C., especially for Black and brown residents.

While proponents claim that this legislation “will make D.C. residents safer and more secure,” it actually does nothing to address the root of the harm in the first place and instead maintains a cycle of violence, poverty, and broken community ties. The omnibus bill calls for increased surveillance, drug-free zones, and will expand pre-trial detention that will incarcerate people at a significantly higher rate and for an indeterminate amount of time before they are even tried. This bill will roll back decades of nationwide policy reform efforts and initiatives to keep our communities safe and whole, which is completely contradictory to what the “Secure” D.C. bill claims it will do.

What is unfolding in Washington, D.C., is part of a dangerous national trend. We have seen a resurrection of bad crime bills in several jurisdictions across the country — a phenomenon policy experts have named “zombie laws,” which are ineffective, costly, dangerous for communities of color and, most importantly, will not create public safety. Throwing more money into policing while failing to fund preventative measures does not keep us safe.

The D.C. crime bill and so many others like it are reminiscent of the ‘94 crime bill, which produced new and harsher criminal sentences, helped deploy thousands of police and surveilling methods in Black and brown communities, and incentivized more states to build prisons through a massive infusion of federal funding. While it is not at the root of mass incarceration, it significantly accelerated it, forcing a generation of Black and brown families into a never-ending cycle of state-sanctioned violence and incarceration. Thirty years later, despite spending billions each year to enforce these policies with many of these provisions remaining in effect, it has done very little to create long-term preventative solutions. Instead, it placed a permanent moving target on the backs of Black people, and the D.C. crime bill will do the same.

The bill calls for more pretrial detention. When our loved ones are held on pretrial detention, they are held on the presumption of guilt for an indeterminate amount of time before ever seeing a judge, which can destabilize people and their families. According to experts at the Malcolm Weimer Center for Social Policy at Harvard University, just one day in jail can have “devastating consequences.” On any given day, approximately 750,000 people are held in jails across the nation — a number that beats our nation’s capital population by about 100,000. Once detained, people run the risk of losing wages, jobs, housing, mental and health treatments, and time with their families. Studies show that pretrial detention of even a couple of days makes it more likely for that person to be rearrested.

The bill also endangers people by continuing a misguided and dangerous War on Drugs, which will not get drugs off the street, nor will it deter drug use and subsequent substance use disorders (SUDs). Drug policies are a matter of public health and should be treated as such. Many states such as Alabama, Iowa and Wisconsin are treating the current fentanyl crisis as “Crack 2.0,” reintroducing a litany of failed policies that have sent millions to jails and prisons instead of prioritizing harm reduction. Instead, we propose a simple solution: listen to members of the affected communities. Through the Decrim Poverty D.C. Coalition, community members, policy experts and other stakeholders formed a campaign to decriminalize drugs and propose comprehensive legislation to do so.

While there are many concerning provisions within the omnibus bill, car chases pose a direct physical threat to our community members. In July 2023, NBC4 reported that the D.C. Council approved emergency legislation that gave MPD officers the ability to engage in vehicular pursuits with so-called “limited circumstances.” Sgt. Val Barnes, the head of MPD’s carjacking task force, even expressed concern months before the decision, saying, “The department has a pretty strict no-chase policy, and obviously for an urban setting and a major metropolitan city, that’s understandable. If our law enforcement officers themselves are operating with more concern than our elected officials, what does it say about the omnibus bill’s purported intention to keep us safe?

And what does it mean when the risk of bodily harm is posed by the pursuit itself? On Saturday, Feb. 10, an Eckington resident had a near-miss as a stolen car barreled towards her and her dog on the sidewalk with an MPD officer in pursuit. What responsibility does the city hold if this bystander was hit? What does restitution look like? Why are our elected officials pushing for MPD officers to contradict their own policies?

Just a few summers ago during the uprisings of 2020, we saw a shift in public perspectives on policing and led to legislation aimed at limiting police power after the highly-publicized murders of loved ones Breonna Taylor and George Floyd — both victims of War on Drugs policing and the powers gained from the ’94 crime bill. And yet here we are. These measures do not keep us safe and further endanger the health of our communities.  Studies show that communities that focus on harm reduction and improving material conditions have a greater impact on public safety and community health. What’s missing in mainstream conversations about violent crime is the violence that stems from state institutions and structures that perpetuate racial and class inequality. The people of D.C. deserve to feel safe, and that includes feeling safe from the harms enacted by the police.

Kaili Moss is a staff attorney at Advancement Project, a national racial justice and legal organization, and Jillian Burford is a policy organizer at Harriet’s Wildest Dreams.

The post COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration first appeared on BlackPressUSA.

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Mayor, City Council President React to May 31 Closing of Birmingham-Southern College

THE BIRMINGHAM TIMES — “This is a tragic day for the college, our students, our employees, and our alumni, and an outcome so many have worked tirelessly to prevent,” Rev. Keith Thompson, chairman of the BSC Board of Trustees said in an announcement to alumni. “We understand the devastating impact this has on each of you, and we will now direct our efforts toward ensuring the smoothest possible transition for everyone involved.”
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By Barnett Wright | The Birmingham Times

Birmingham-Southern College will close on May 31, after more than a century as one of the city’s most respected institutions.

“This is a tragic day for the college, our students, our employees, and our alumni, and an outcome so many have worked tirelessly to prevent,” Rev. Keith Thompson, chairman of the BSC Board of Trustees said in an announcement to alumni. “We understand the devastating impact this has on each of you, and we will now direct our efforts toward ensuring the smoothest possible transition for everyone involved.”

There are approximately 700 students enrolled at BSC this semester.

“Word of the decision to close Birmingham Southern College is disappointing and heartbreaking to all of us who recognize it as a stalwart of our community,” Birmingham Mayor Randall Woodfin said in a statement. “I’ve stood alongside members of our City Council to protect this institution and its proud legacy of shaping leaders. It’s frustrating that those values were not shared by lawmakers in Montgomery.”

Birmingham City Council President Darrell O’Quinn said news of the closing was “devastating” on multiple levels.

“This is devastating for the students, faculty members, families and everyone affiliated with this historic institution of higher learning,” he said. “It’s also profoundly distressing for the surrounding community, who will now be living in close proximity to an empty college campus. As we’ve seen with other institutions that have shuttered their doors, we will be entering a difficult chapter following this unfortunate development …   We’re approaching this with resilience and a sense of hope that something positive can eventually come from this troubling chapter.”

The school first started as the merger of Southern University and Birmingham College in 1918.

The announcement comes over a year after BSC officials admitted the institution was $38 million in debt. Looking to the Alabama Legislature for help, BSC did not receive any assistance.

This past legislative session, Sen. Jabo Waggoner sponsored a bill to extend a loan to BSC. However, the bill subsequently died on the floor.

Notable BSC alumni include former New York Times editor-in-chief Howell Raines, former U.S. Sen. Howell Heflin and former Alabama Supreme Court Chief Justice Perry O. Hooper Sr.

This story will be updated.

The post Mayor, City Council President React to May 31 Closing of Birmingham-Southern College first appeared on BlackPressUSA.

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