A review of our recent Film Club selection EXECUTIVE ORDER, now available for viewing on Amazon Prime
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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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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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Samuel Beckett and Richard Pryor: How their tragicomedy Saves and Enlightens us.
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In their latest cut-up, Dennis Leroy Kangalee and Maxx Pinkins have a critical conversation on this classic indie film
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Meditations on Russia, Paul Robeson, the morality of a camera, and the embryo of a wobbly cinema.
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Charles Burnett, Ben Caldwell, Alile Sharon Larkin have a intergenerational conversation with audiences at the first-ever Thuh Juneteenth Film Festival
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With The Spook Who Sat by the Door, Dixon could pick up where he left off with the remarkable creative caliber of Duff in Nothing But a Man, but now as a director…and his, and screenwriter Sam Greenlee’s, greatest achievement.
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Jacinto Taras Riddick and Che Ayende have partnered to give us not only the best collaboration in cinema of the past year, but a shocking example of the concussive force of writing, directing and performing for the screen that I have been waiting to see for a long time. I went into the screening a lapsed filmmaker, and emerged with my faith restored.
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The actor, by nature, is the most political of all artists because he is literally using his body as an instrument to engage in our accepted or disregarded mores, injustices, dreams, longings, etc. The actor marries double consciousness seamlessly – the past and the present - in order to leave the audience with a potential future…he is a shaman, and we rely on him to heal the tribe or at least tell us what ails us. THIS is Ivan Dixon.
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It is immoral to utilize “beautiful and seductive” photography for a film that is couched in shame and regret and unconscionable acts. Tumors are not beautiful and to deny their ugliness and terror is to deny the affliction.
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“Passing” tries to normalize behavior indicative of the crisis and mental states Frantz Fanon - a man who died trying to free the colonized mind - warned us about. This should be a harbinger for every filmmaker who even THINKS about making a movie about Black self-hatred and “passing.”
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Is film the optimal medium for presenting history?
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Quantity has replaced quality in many aspects of life, in particular the arts - high or low. In the peculiar and singular realm of Black cinema it is less about canons or exhaustive ouvres. Kangalee explores how the power of singular works can surpass a dredge of mediocre and sometime meaningless works.
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