We share special insight on why you should read these integral Black film books.
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This film proves what ‘Visual Liberation’ could be. ..American radical filmmakers or those with a serious interest in progressive socially conscious movies if not actually revolutionary ones could learn A LOT by watching and studying the film.
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This journey has been a labyrinthine and exhausting one. As if I myself had slowly made notes on a film on a film about Rustin that I could never bring myself to make. So, what I have in front of me is a collision of articles, facts, notes, archival footage, interviews – but mainly a cozy big-budget movie that aims to tickle instead of teach.
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What I did not realize, much to the chagrin of my white friends who of course were bothered that I somehow could inhabit and emulate Ford's swashbuckler better than they could -- was that Indiana Jones was a white American nationalist avatar. Yes, he fought bad people and Nazis, but often he too looted ancient artifacts and was only doing for America what the imperial Europeans did for their nations: steal art and priceless cultural icons and works and "protect" them in their own Western museums.
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Perhaps Fassbinder was right: Show the revolution onscreen you deny them the revolution in their life. Hmmm….We must show them the reason why revolution is necessary or show how radicals TRY to organize or rebel.
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Actually, Jeffrey Wright is not invisible at all. He’s quite conspicuous, which is what makes the cobweb he’s in is so disconcerting. We detail how, and provide eight examples of Wright’s extraordinary acting abilities that will (hopefully!) remind filmmakers who have something to say that brilliance is right there in the center of Hollywood waiting for you…and his name is Jeffrey Wright.
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Jeffrey Wright never did anything to deserve his inconspicuousness. He didn’t fawn, nor offend. What he did was impress his fellow actors. So how does a talent like Jeffrey Wright get paid millions to be invisible in a movie like James Bond? How is that possible? Easy. Especially when you are being erased.
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We cannot right (or write) the wrongs of the racist West’s history while we are still enmeshed in it. For example, a slave cannot make a movie about slavery while they are still in chains. To affect change and advocate for the oppressed – is a calling.
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Garbus commits the greatest sin a non-fiction filmmaker can commit: she exploits instead of bearing witness.
She’s more interested in maligning Simone’s imagination and creative beauty and warping the Black female warrior - than she is in divulging "truth."
“I think here again we are afraid of individuals, and if you are an individual, you know you're sort of an outcast. It's like having talent today. Talent is no longer an asset to a person. It is now a hindrance because of the vast amount of monies that are being made by people with no talent.”
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A work of art has to go beyond a placard. Sue Coe’s art not only believes wholeheartedly in what she is saying, she offers us artwork like a sacrificial lamb we’re afraid to touch.
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Further connecting the Black and the Green. Both Pryor and Beckett’s writing are littered with death and suicide, sex and yearning, love and memory, and surreal interplays of the imagination and the ominousness of the law. But in both there is a marvelous hold on life that is both positive and negative, optimistic as it is pessimistic, funny as it is sad.
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