The Perfect Find

Enjoy these first look photos of Numa Perrier's The Perfect Find starring Gabrielle Union and Keith Powers. 

After a high-profile firing, Jenna's fashion career comeback hits a snag when she falls for a charming, much younger coworker - who happens to be her boss's son. As sparks fly, Jenna must decide if she'll risk it all on a secret romance.

Numa Perrier is a favorite of ours-- her debut indie feature Jezebel was an extraordinary introduction to her aesthetically engaging and powerful onscreen storytelling style. Pairing her with a veteran talent like Gabrielle Union literally seems like a perfect fit in this modern romantic comedy that is sure to have a subtle core under Perrier's artful guidance. The photos look visually pleasing, with a vibrant color palette that is fitting of the fashion world setting. Perrier is on track to become a household name in cinema, a beloved director like Gina Prince-Bythewood in the Black film community, with talent that reaches to various audiences and genres. 

The Perfect Find premieres June 23rd on Netflix.

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The Young Wife

The Young Wife is the sophomore movie release by auteur writer / director Tayarisha Poe (Selah and the Spades). It premiered at the 2023 SXSW Festival this week to positive reviews. It's what I lovingly refer to as a "Subtle Core"  type film; that means it's the kind of Black cinema that offers a beautifully layered and lyrical approach to Black life and love. 

The film stars Kiersey Clemons (Dope) and Leon Bridges (Ocean's Eight) as the central couple; it also features the Emmy Award-winning Sheryl Lee Ralph (Abbott Elementary) portraying Clemons' mother in the film. 

A young woman grapples with the meaning of love and commitment over the course of her “non-wedding” day. 

The film comes from the Higher Ground Productions collab with Netflix and the Obamas. More info on the trailer and release date is to come. Stay tuned!

Bottom line: Anything that Tayarisha Poe directs gets an automatic add to on our must-watch list.

 

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Poster - Drylongso

A fascinating piece of 90s Black Cinema history will get the big screen treatment at the Lincoln Center this March. Drylongso, directed by Cauleen Smith, premiered at the Sundance Film Festival in 1999, won the Grand Jury Prize at Urban World Film Festival and garnered the Someone To Watch Award at the Film Independent Spirit Awards. 

Drylongso embeds an incisive look at racial injustice within a lovingly handmade buddy movie/murder mystery/ romance. Alarmed by the rate at which the young Black men around her are dying—indeed, “becoming extinct,” as she sees it—brash Oakland art student Pica (Toby Smith) attempts to preserve their existence in Polaroid snapshots, along the way forging a friendship with a woman in an abusive relationship (April Barnett), experiencing love and loss, and being drawn into the search for a serial killer who is terrorizing the city. Capturing the vibrant community spirit of Oakland in the nineties, Smith crafts both a rare cinematic celebration of Black female creativity and a moving elegy for a generation of lost African American men.

The film will play in 4K restoration on March 17th at 6:30pm at the Lincoln Center in NYC courtesy of Janus Films, The Criterion Collection and The Academy of Motion Picture Arts and Sciences.

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Interview with Numa Perrier

Numa Perrier creates a subtle and sexy lane in the world of cinema with her feature film Jezebel. Perrier shares some insight on how she sculpts the aesthetics of her shadowy slice of Las Vegas. The following interview offers a peek inside the mind, and "Subtle Core" of what makes her style shine:

1. First, I love how quiet Jezebel is as a film. It has the cadence of a symphony orchestra-- there are moments, visual melodies in mood and tone that are delicate and skillfully refined as violin solo, juxtaposed with intensely loud and fiery brass section scenes. This dynamic is beautifully displayed in the back to back scenes where the family argues after finding out their mother has died followed by the quiet scene with the two sisters in the bathroom. It's a pitch perfect example of artistic control-- extremely loud and then expertly quiet, almost like a post-rock tune. My question is this: What's your approach to sculpting quiet moments of connection in a scene? What guidance, and advice do you give your actors in regards to laying out the groundwork for such an emotional journey?

My approach to sculpting the quiet moments starts in the casting— finding actors who have that range and flexibility to express fully yet nuanced. I can tell from the first few moments of a reel or audition tape or a meeting even. Then as the work unfolds I help tune the instrument- no no too sharp - no too flat — actors with supple instruments and openness allow me to do that and we are in the dance together. 

2. That wig gifting scene: It's one of the sweetest on-screen moments I've ever  seen that portrays the depth of a sibling bond. You could feel the love, the longing, the sadness and despair as they clung to each other after losing their mom. That scene really stopped me in my tracks-- it's perhaps the masterpiece moment of the film, the subtle core. Can you walk me through your directing mindset on the day you filmed it?

Yes thank you I view it the same way. That scene we did in one take. 

We took a lot of time before hand building a real sister bond with each other and I took a lot of time talking to my cinematographer about what I wanted in that moment. Then because of her hair and the time we had that day we had to get it in one long remarkable take. Tiffany and I went in emotionally full and just let it sweep over us. A sliver of my mind was still in director mode but that also works for the scene as her older sister guiding and directing her younger sister towards her womanhood. In the edit worked long to get the scene to feel like real time and to do as few cuts as possible. I wanted the moment to be as pure as possible and echo the real life memory that I based it on. 

3. I find it fascinating how the wig equally represented sisterly love, and sexual empowerment. It was her cape, her superhero suit, as she made her way through the cam girl dark universe in Las Vegas. I'm curious, do you have something that you bring to film sets, perhaps, a necklace, a poem (a tangible item) that reminds you to stand tall in your role as a director? I think that speaks to the human condition. Kind of like how a baseball player might bring a lucky charm to a game. Do you have a lucky directing charm that you carry?

I have a book that my first acting teacher wrote and it’s a lot about the craft of acting but also a lot about life and how we approach artistry. I will take a deep breath and open up the book to a random page and read it. I consider it a message for the day and i use that for my acting and directing. I also meditate before I report to set. My angels are always guiding me. 

4. Let's talk about shadows. Jezebel has some solid achievements in this cinematic lane. One of my film favorites are Jean Luc Godard's Alphaville. What are some of your favorite shadowy scenes, and shadowy characters in cinema? Is that style something you aesthetically gravitate to as an artist?

I love shadows and chiaroscuro. I first fell in love with this in Maya Deren’s film Meshes of the Afternoon. And as a kid playing with my own shadow always brought such a sense of wonder. So it’s always been important in my work to dance and play and lean towards natural shadows as much as natural light. In Jezebel this was also about the honesty of how I remembered my life in that apartment. We filmed in the same apartment complex that I lived in and I wanted to stay as close to that reality as possible which was we lived in a very shadowy apartment.

We never opened the blinds. When the door opened garish light would fall in and then we would all be together seeing each other and our shadows overlapping in the small space. The darkness and depression was visceral. I wanted the audience to feel this so we leaned into every shadow and never tried to blast it with light. 

5. I know you have some erotic centric films in the works. I feel like that's something that's been missing from arthouse cinema in regards to stories centered on Black characters. Jezebel gave us a wonderful introduction to your artistic palette as a director. What's your approach to constructing sexy moments on screen? What makes a film, a project, uniquely a "House Of Numa" thing? Have you figured out a particular aesthetic that you want to be your signature, "your stamp" on every film? 

Provocative personal and feminine are my staples. And I care deeply about Black Womanhood. Our desires, our vulnerability. Our sensuality, our masks, our rage, our magic. That’s what I seek to focus on and continue to explore. House of Numa is an invitation to that in many forms - films, TV, art immersive experiences, books, brunches, you name it. 

6. What actresses, or cinematographers, or collaborators in general, are you eager to work with in the future? Who are some of your dream collabs? Or perhaps, you have a dream location you'd like to shoot at. 

There are so many emerging talents that I’m excited about! As an actor I’d love to work with Janicza Bravo. As a director I love Nikki Beharie she’s an indie darling; I’d love to find something for us. I look forward to working with Tiffany again and Stephen Barrington from Jezebel as well. I’m always very open to fresh faces new talent and people who aren’t necessarily actors at all but they inspire me. 

I’d love to film in Washington state where I once lived I’d love to make a film in Japan, in Paris... so many ideas and possibilities. 

7. Thanks again for doing this interview. Is there anything else that you'd like to share about your filmmaking process? 

Thank you for such a thoughtful and caring interview. 

The only thing I have to add is I’m excited to get back on set. This time of pause has been tough- a slow rollercoaster of intense emotions.  Looking forward to continuing filmmaking keeps me hopeful and in this time of tremendous loss it has been movies that bring me great comfort —so I will be very happy to get back to making them. 

---

JEZEBEL is currently streaming on Netflix.

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Are Black Filmmakers Allowed To Shoegaze?

The idea of quiet opening scenes, moments where actors have "shoegaze" type silences where there is space for a character to simply breathe in the weight of their existence. Films like Ava DuVernay's I Will Follow and Barry Jenkins' Medicine For Melancholy give us Subtle Core in that realm. Matthew A. Cherry's The Last Fall is a film that centers on a Black man and is plentiful of sensitive shoegaze moments, something we rarely see on screen, especially with a Black actor as the lead.

I liken the feeling of shoegazing to the music genre where performers are allowed (and expected) to come on stage, quietly perform their set, embracing lo-fi vibes. Where the audience and performer are joined in a marriage of quiet appreciation. The music reaches out and connects with the audience without the expectation of an exaggerated performance. As someone who has attended several of these type of concerts (usually held in smaller venues) there is an unspoken communion between performer and audience that we are both here to cherish the subtle flow of artistic expression.  A slow cadence of swaying back and forth. This kind of communion exists in shoegaze, dream-pop and post-rock. Translating these vibes, theses aesthetics into cinema-- White filmmakers are easily afforded the opportunity to create quiet films, and often celebrated for it. It's a privilege. I hope we can cultivate more spaces, and film fans who celebrate the Subtle Core moments of Black filmmaking.

Which brings me to Miss Juneteenth. It was just released on VOD and is a solid addition to this cinematic space. Channing Godfrey Peoples directs Nicole Beharie in an Oscar-worthy performance as a woman who's biggest dream is for daughter to win a Juneteenth pageant. The subtle core of this film is very specific, we enter a vibrant world of Black Texan traditions-- one that has never been depicted on this level before. Peoples and Beharie did the thing were musicians close their eyes, and completely immerse themselves into the sonic waves of their artistry-- it was epic in its quietness.

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Same Difference (2019)

Watching Essence Atkins in a quiet, character-driven drama is a cinematic revelation, an experience that I never knew I needed. Her performance in Same Difference shook me in an unexpectedly powerful and pleasant way.

Atkins is known for her comedic work in film and television, (Half & Half is one of my favorite sitcoms), but up until this point, in this emotionally tender film-- I don't think I've ever truly seen her, at least not in this light. Same Difference explores the idea of connection, with one's self, and the unique bond between sisters. The last time I remember being this blown away by a comedic actor turned dramatic lead, was perhaps, Jim Carrey in Eternal Sunshine of The Spotless Mind. That film opened my eyes to his range, and depth. Same Difference does that for Essence Atkins-- there's a deep reservoir in which she drew from to give this very subtle performance.

After recently watching Atkins in Ambitions, I was captivated by her performance in the opening scene of that series. I saw something that took my breath away, and made me pause in awe-- her face, her body, became an instrument of beautiful nuances, the weathered look in her eyes, the way she conveyed rejection and shame, it made me stop and do a double take. After that, I made it my mission to see if Atkins had any dramas on her resume, which lead me to viewing Same Difference. And what a lovely rabbit role to fall into... Seeing that indeed, Atkins had this wonderfully layered dramatic lead role in her pocket. This indie film gem waiting to be discovered. Who is this version Essence Atkins, and how can I have more of her?

It should be noted that Atkins won an award for her role in Same Difference at the American Black Film Festival (ABFF) for Best Performance by An Actor. And rightly so.

I'd love to see Atkins lean into her dramatic side more-- For her to take on projects that give her the space to shine in this realm. Atkins does comedy well, but she is equally talented in this lane.

Same Difference was written and directed by Derege Harding. Kudos to him for crafting a heartfelt piece of "Subtle Core." I'll definitely be on the lookout for his upcoming works.

You can watch Same Difference on BET+

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90 Days (2016)

The trailer for 90s Days looks like a master class on how to make its star, Teyonah Parris, glow in every frame. And honestly-- Teyonah Parris deserves this kind of attention. I want to applaud whoever was in charge of mapping out the color palette for this short film because it is a real treat. I want more of Parris-- that's the general sentiment when it comes to her talent. Her work in Dear White People, If Beale Street Could Talk, even Chi-Raq (where she took center stage) just made me crave more of her onscreen presence.

I took a quick look at her IMDb page and I see that she has some new projects on deck. Some of the movies may be supporting roles, but I really long for her to be positioned in roles that garner her direct attention, awards nominations, and buzz. I'm excited to see where her career goes, and 90 Days is a nice snapshot in the tapestry of her overall body of work.

For more info on the film visit www.90daysthefilm.com

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Fall in Love with Nikyatu and Suicide by Sunlight

I am officially fangirling over the awesomeness of indie filmmaker Nikyatu Jusu. If you're not following her on Twitter then you're missing out on a constant stream of artistic gems, quotes, insight and pointers that paint a realistic picture of what it's like to be a black woman indie filmmaker in today's creative climate. 

Suicide By Sunlight is a tale about "black vampires protected by melanin day-walkers among us." That short tagline alone is enough to excite me about the future of black cinema. The sci-fi & fantasy geek in me can't wait to see this film (that played at Sundance and other film festivals).

I've been an admirer of Nikyatu's talent since her break-out short film Black Swan Theory (that Shadow & Act introduced many of us to). She stepped onto the film scene boldly, each new work daring and visually engaging. A reminder of how her artistic voice is very much needed in the realm of Hollywood. 

Below is a "Meet The Filmmaker" type video via the Sundance Institute. 

Do yourself a favor-- board the Nikyatu train... Her filmmaking career is destined for greatness.

For all things Nikyatu Jusu visit her website Nikyatu.com & Twitter: @Nikyatu

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9 Rides

I'm still trying to figure out how I feel about 9 Rides, and that's a good thing. It's a winding road of a film, and I fear that it may get lost beyond the film festival scene. That's kind of tragic, but it's also beautiful because it exists. This revolutionary piece of cinematic art exists. That warms my movie fan heart. 

Matthew A. Cherry shot 9 Rides on the iPhone 6s (with the help of a really cool add-on lense). The film had its world premiere at SXSW over the weekend. That in itself, is wonderful and revolutionary. The fact that a black filmmaker can create a feature film on an iPhone and have it screened at a major film festival is revolutionary stuff. Like Jean-Luc Godard type revolutionary. Matthew A. Cherry is reshaping the the way black filmmakers are perceived in the industry and he's becoming a trailblazer in this digital age. 

As I watched 9 Rides I was reminded of films like Ramin Bahrani's Man Push Cart, and Matt Porterfield's Putty Hill. These films are long and observational by nature, but in the best kind of way. I'm not sure if most people would appreciate the artistry there. If you've seen those films then you'll understand why I like 9 Rides. Films like Man Push Cart, Putty Hill, and 9 Rides are powerful in a subtle slow-churned way. 

9 Rides is about an uber driver and the passengers he picks up on New Year's Eve. The driver is played by Dorian Missick (one of the hardest working actors in "black cinema." He's an actor who just needs one iconic film or TV role to push him into the next level of stardom). Of all the short stories that 9 Rides featured, two of the "rides" stick out the most: The outstanding scenes where Missick's character totes around a group of rowdy millennials and gets stopped by the police. The other remarkable ride is when he tries to help a woman in need from her abusive "boyfriend." Those stories, those moments of human connection, were packed with emotion, and they highlighted the strength of Missick as a leading man, and spotlighted the relevance of Cherry as a director dealing with delicate subject issues in a poignant way. 

9 Rides was good, but it wasn't "perfect." I would have liked to see Missick's character outside of the car more often, and I would have enjoyed more lingering shots of Los Angeles at night. The film offered some of those, but not enough. I wanted the film to slow down and let me sink my teeth into the characters. But I'm not sure if that would be possible outside of turning 9 Rides into a mini-series or TV show, which would be pretty fasinating. It has all the right ingredients for a long-form platform. I guess my only real complaint is that I wanted more, which isn't much of a complaint at all. I'd like to see what Cherry can do with a bigger budget because so far I've been pleased with his work. 

I feel like Matthew A. Cherry is on the path to crafting his magnus opus and strengthening his artistic voice and style. I've written about Cherry several times on this site, and it should be no surprise to those that follow me on Twitter that he's one of my favorites in the Subtle Core movement of black filmmakers. 

 

9 Rides makes sense, it's ingenious and clever filmmaking. It's a true example of the spirit of indie cinema. The kind of daring work that I'd like to see more black filmmakers take. 

Bottom line: If you appreciate films that make you feel like a "fly on the wall" as you watch naturalistic scenarios then 9 Rides will be a treat for you. 

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Melina Matsoukas, Beyoncé's "Formation" and Why Black Cinema Needs A Terrence Malick

Beyoncé's "Formation" is a relevant example of everything I'd like to see happen in the ranks of black cinematography. 

I've had several conversations about how indie black filmmakers should be she studying Beyoncé and Rihanna's music videos for technical purposes, to learn from their craft and visual artistry. Whether you like their music or not is irrelevant, their music videos are ground-breaking, and offer great lessons in lighting black skin, and framing a "wow" shot. 

Bradford Young has become a master of cinematography, and he is at the heart of the Subtle Core movement. His repeat collaborations with Andrew Dosunmu and Ava DuVernay have yielded stellar visual achievements. Selma, and Restless City are beautifully shot. Gorgeous works of art, that offer visual beauty with character and story depth.

We need more black filmmakers and cinematographers to become rising stars in Hollywood. For their visuals: cinematography. 

Steve McQueen. Amma Asante. Gina Prince-Bythewood. Dee Rees. Justin Simien. And many others are out there crafting these kind of visually stunning masterpieces. But we need more filmmakers. More opportunities. More chances for black art to shine... Which brings me back to Beyoncé's "Formation." This music video has the kind of potent images, stylization, and cultural impact that black cinema needs more of. 

Melina Matsoukas has become a music video auteur with Beyoncé's "Formation" and Rihanna's "We Found Love." She orchestrates these weird, and wild, visual concepts that "wow" us with her visual style and artistry. And that's what black cinema needs... Stunning scenes that illustrate deep focus, and deep staging, breath-taking shots that fill the frame in wonderfully original ways. Black cinematography needs a Days of Heaven, a Terrence Malick kind of grand entrance. The kind where the cinematography takes the forefront. Where the cinematography is a character of its own, where the cinematography "steals the show" and gets the bulk of the spotlight and is at the center of all the write-ups and articles.

It's happening. Slowly. We need more films like Middle of Nowhere, Belle, 12 Years A Slave, and Bessie. I've heard great things about Nate Parker's The Birth of A Nation. It is happening. Black filmmakers are elevating, and excelling in cinematography. I want Hollywood to get to the point where black filmmakers get the same kind of financial backing, and creative freedom to craft weirdly artsy films like The Tree of Life with A-List talent who agree to a project without seeing the script and just go-with-the flow because "hey, it's Terrence Malick." Black cinema needs that. Hollywood needs that. It could produce some amazing films. 

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Nate Parker is The King of Sundance with Birth Of A Nation

Nate Parker's Oscar campaign has officially began. Birth Of A Nation had its world premiere at the Sundance Film Festival this week and the film got a "standing ovation" and the largest deal in Sundance history. According to Variety and The Hollywood Reporter Birth Of A Nation has landed a "record breaking" $17.5 million acquisition from FOX Searchlight. 

Long-time fans of Parker are familiar with the mention of his passion project about the story of Nat Turner. I feel like I've been hearing about it for at least a couple years, and I had hoped that it would be good. But apparently it's great! According to the reports out of Park City, film critics (and fans) are pretty much calling Birth Of A Nation a masterpiece.

Nate Parker wrote, directed, and stars in Birth Of A Nation. The film is about "Nat Turner, a former slave in America who leads a liberation movement in 1831 to free African-Americans in Virginia that results in a violent retaliation from whites." The film also stars Aja Naomi King (How To Get Away With Murder), Gabrielle Union (Being Mary Jane), and Armie Hammer (The Social Network). 

And let's not forget Parker's excellent performance in Beyond The Lights as Officer Kaz Nichol. That film was under-represented at last year's Academy Awards, only getting a Best Song nomination when it deserved so much more. 

Hopefully this time next year the Oscars won't be so white, and Nate Parker (and Birth Of A Nation) will have several nominations including Best Actor, Best Director, Best Screenplay, and Best Picture. 

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Subtle Core Spotlight: Dijon Talton

Looking back on Ava DuVernay's seminal indie film I Will Follow I'm reminded of all sorts of things. Like Dijon Talton's supporting role. That scene where he shares pizza with Salli Richardson-Whitfield's character and they bond over their favorite rap artists. That scene almost feels like a prelude to the work DuVernay would do with her Apple iTunes commercials (featuring Kerry Washington & Taraji P. Henson). Back on topic, Talton and Whitfield had this moment, ever so subtle where they connected beautifully and you felt it. The pain, the happiness, the sadness, the loneliness... The wonderful spectrum of emotion that DuVernay crafted was there, as it was in every scene of I Will Follow. Which brings me to main my point: Dijon Talton needs a starring role in his own Subtle Core type film. I'd love to see him work with Duvernay again, but there are so many wonderful filmmakers in the Subtle Core movement that he could shine in any of their projects.

So... Who should be his co-star? My vote is for Ashley Blaine. She had a nice supporting role in Dear White People, but she really showcased her range in the web series Hello Cupid. She was cute, funny, and vulnerable. Basically, she has all the right ingredients to be a lead actress in the indie scene. Pairing Blaine and Talton would be smart, and interesting, and it could really bring something fresh to the silver screen.

So... Who could direct such a film? Of course, we want Ava DuVernay to direct everything. Her name pops up in almost every "black film" related project as a dream director. But may I lead you to Tanya Hamilton. Her debut film Night Catches Us was not lost on me. I appreciate the Subtle Core performances she brought to the screen with Kerry Washington and Anthony Mackie. I know she could craft something beautiful, heartfelt and poignant for Dijon Talton and Ashley Blaine.

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Short Film Premiere: Reflection

R.M. Moses is one of the best under-the-radar indie filmmakers. His short films are beautifully shot, and he keeps finding talented acting leads. It's amazing what he's doing over in the UK. Fans of black film will rejoice in the Subtle Core of his style. Moses is the real deal, a young and talented black filmmaker with all the makings of becoming a stand-out auteur in the film world. I'm excited to see where his career takes him.

Here's the premiere of his new short film Reflection starring Tola Teriba.


REFLECTION from R.M. Moses on Vimeo.


A little behind-the-scenes on the film:

From the filmmaker...

I have Crohn's disease and I've had it for almost 9 years now. It hurts me
everyday, always nibbling at my insides as if it's a reminder that I can't do as much as I want to. It's annoying more than anything now because I'm so used to it. But I guess I have it for life so It was bound to become the "norm" for me.

Everyone has their problems, no matter how small or big they may compare to one another, the weight and burden can't really be judged or empathised by other people. This film gives us an insight to someone who is visibly ok but internally fighting the same battle everyday. It makes you feel like the words being spoken are about you. It's personal and genuine, and the amount of heart me and Tola had filming this can be seen.

Filming was amazing, one of the best shoots I've done, definitely the most enjoyable. I felt Tola's energy every time I said action. It was overwhelming at times because I know he had to put himself into a state of mind that he only goes through when he is having a crisis or something of that magnitude.

Before I would say action, I would give Tola a little backstory to why his character is sitting here, or standing over there, and he would close his eyes and really absorb the info which makes him a different quality actor. The love he has for his craft is amazing.

With this film, overall I just want people to have more awareness for victims of life-long diseases or illnesses. It's not about sympathy or feeling sorry for us, we're empowering others by giving them a voice. This is for the people who struggle with undiagnosed and untreated illnesses. This is for the people who feel like the pain isn't worth living through, but survive and breathe with us today. And I just want you to know that you aren't alone, we are all flawed, all struggling, but in the end it makes for a good life story when you succeed.

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The Color of Life (Short Film)

I'm a fan of black filmmakers shooting artsy films in black and white. It has to do with my love of French New Wave. When indie filmmaker Robert Butler shared his concept about shooting his short film The Color Of Life in black and white I was intrigued. His short is best with its montages that give a slice of Subtle Core when the lead actress (Jada Johnson) is lost in a haze of moody despair.

You can watch the trailer and film here:

https://vimeo.com/ondemand/coloroflifepremiere

*Full disclosure: I served as script supervisor on this short.*

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Afrotopia Film Fest [Photos]

Afrotopia celebrates the weird and quirky sci-fi films featuring black stories, and filmmakers. It's a strangely cool fest curated by Ingrid LaFleur, and held in downtown Detroit. Here are some photos from the event:

Website: AfrotopiaIsNow.com

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Beyond The Lights (2014)

This movie rocked me to the core. The mood, tone, cinematography and storyline offer a staggering tale of heart-warming love.

Beyond the Lights plays like a post-rock song... Quiet, loud, quiet, loud. Each emotionally charged scene pulls our heart strings with a skilled subtle dynamic that swells with a satisfying ethereal finale. Gugu Mbatha-Raw and Nate Parker were the instruments, they played their roles with pitch-perfect vulnerability making Noni and Kaz people you wanted to cheer for, complicated, flawed, but beautiful together. I got teary-eyed when Noni sang the second rendition of  "Blackbird." She had me bleeding for her when she stood in the driveway asking Kaz to "see" and love her. Witnessing the transformation of her fragile soul bloom was a quiet explosion in the sky. A brilliant firework. Nate Parker made Kaz suave and sexy; genuine and down-right-decent.

How often do you get to see two people fall in love over sweet potatoes in the car? Not everyone will get the power of that visual. But I ate it up.

I loved the fact that Noni was biracial, and British, and that element, those layers, are something I've wanted to see portrayed on the big screen.

I knew when I finished Beyond The Lights, that I had to see it again, and I did the next day, and then the next day after that. Why? Because Gina Prince-Bythewood directed the type of film that I've always wanted to see. As a movie blogger you wait in eager expectation for the kind of film that makes you fall in love with movies all over again. Beyond the Lights is that film for me. It happens every once in a while, 500 Days of Summer, Blue Valentine, Medicine for Melancholy, Once, Never Let Me Go, I Will Follow (to name a few). And it's a splendid slice of filmmaking when it does.

This movie is special to me, and I can only hope that it becomes special to you. And that, my dear readers, is the beauty of movie magic.

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Trailer - Beyond the Lights

The trailer for Beyond the Lights offers a slice of everything I want to see happening in black film. Awesome female director. Check. Talented young leads. Check. Clips that ooze emotion in an artistic and stylishly beautiful way. Check. It's quite possible I may have found my new favorite movie. Yes, more, and please.

In theaters November 14th.




Official Sites: IMDb / Facebook

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Trailer - Dear White People

Dear White People is a "satire about being a black face in a white place." The story takes place on a college campus, and the film had some major buzz at the Sundance Film Festival. Here's the trailer:

In theaters October 17th.



Official Site: www.dearwhitepeoplemovie.com

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Trailer - Tyler Perry's Temptation

I've been Team Jurnee Smollett for a long time so it's good to see her emerge in a starring role. I can only hope this is the first of many intriguing characters she'll get to showcase. She was great in Friday Night Lights (one of the best dramatic ensemble casts to ever grace the small screen. "Clear eyes, full hearts, can't lose.") Here's the synopsis for Tyler Perry's Temptation:

"It’s about a woman who starts to get restless in her relationship and her choice to be with another man has a huge effect on the rest of her life. She goes on a journey – in her career and in her marriage – and she ends up in a very different place than she expected."
In theaters March 29th.

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Subtle Core Spotlight: 3 Things Happening in Black Cinema's #SubtleCore

Congratulations are in order!

1. Big Sundance Win -  Ava DuVernay was honored with a Best Directing award at the 2012 Sundance Film Festival for her film Middle of Nowhere. Her sophomore film tells the story of a woman dealing with the heart-break of a distant husband.

2. Last Fall at SXSW - Matthew A. Cherry's feature film debut The Last Fall was accepted at the upcoming SXSW film festival. Some of you may recall him from Ava's GUEST POST on Reel Artsy where she highlighted her "5 Favorites."

3. Cinema in Noir - Over the weekend I was a guest on Cinema in Noir's weekly podcast where I chatted about "the rise of Black Cinema's Subtle Core." I've embedded the episode below.

Also, I created a Subtle Core 101 list on Twitter so you can stay updated with the conversation in real-time. Use the #SubtleCore hashtag to add your voice to the mix. Relevant comments and links will be retweeted.

If you're new to the movement check out PART ONE of my spotlight on Black Cinema's Subtle Core. 

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