Black, Northern Irish and Proud
Lindsay Dube (2022)
Question: ‘Is it better to be white?’ Answer: ‘Why would it be better? I’m proud of my identity’. This exchange between a mixed-race girl and her Kenyan father proved to be a pivotal moment in the young girls’ life; ultimately impacting the way she thought about her own identity. ‘Black, Northern Irish and Proud’ is a short documentary that focusses on the often over-looked experiences of black and mixed-race people living in Northern Ireland. The participants speak candidly about the ignorant and abhorrent behaviour that they have faced from friends, associates and strangers alike; ranging from verbal and physical abuse to social exclusion. One interviewee shockingly recalls an encounter with friends who made inflammatory racial remarks, and upon being corrected, responded by saying ‘but you’re not black’. This particular remark is often weaponised to silence and disorientate mixed-race people; insinuating that they cannot defend a racial group that they ‘do not wholly belong to’. This in itself is problematic for different reasons. Firstly, it is not the place of others to label a persons racial identity; thus deciding which group they do or do not belong to, and secondly it demonstrates a clear disregard for the overt erasure of a portion of that persons’ identity. Another interviewee also discusses facing job discrimination purely due to an inability to pronounce her name; despite having all of the required qualifications. In response to this, the interviewee chose to adopt a simpler name, to make it easier for prospective employers. Applicants of ethnic origin should not have to assimilate in exchange for work opportunities; especially when the root of the issue lies with the employer and their prejudices. A persons’ name is an aspect of their identity that should be accepted, respected and learned without any pre-conceived notions or hesitancy attached. Name discrimination is rarely discussed in wider conversations of racism, possibly due to the covert nature of it. But it is undoubtedly an underlying issue that should be exposed and eradicated all the same. In spite of the heavy subject matter and content, the film does end on an optimistic note; with the interviewees sharing their hopes for the future. Each person ultimately envisions a more inclusive society that celebrates and accepts diversity, and provides a safe space for everyone regardless of their race. Though short, the film is impactful and does well in capturing - through the varied ages of the interviewees - how racism continues to permeate society, in spite of how much time has passed. Which raises the question: How much more time will pass before we can call racism a thing of the past? This documentary is proof that there is still more work to do.
Watch the film here
Spell
By Mark Tonderai (2020)
Successful people revisiting the hometowns the’ve left behind is often portrayed as somewhat daunting, as it usually means certain memories - and familiar faces from ones’ past - resurface. However, one families hellish ordeal at the hands of unfamiliar faces proves almost impossible to escape.Family man Marquis appears to have an ideal life; a successful career, a family and a beautiful house. But his peaceful existence is shattered upon receiving news of his Father’s death. Clearly conflicted, Marquis eventually concludes that he should go back home for his Fathers’ funeral; his wife and unimpressed children in tow. But before arriving at their intended destination, their aircraft is caught in a storm; crashing into an unknown location. Upon waking, Marquis finds himself in the home of a seemingly friendly older woman, but his family are nowhere to be seen. From here, events take a very sinister turn as his ‘saviour’ - unbeknownst to him captor - has no plan to let him go. Attempts to escape prove futile, and Marquis gradually learns that he must save himself and his family before their fate’s are sealed. The story is a well-crafted slow-burner; leaving a nice trail of breadcrumbs for the audience to devour as the tension gradually mounts. The horror itself is engaging; shrouded in mystery before gently unravelling to reveal the true nature of the danger the protagonists face. The film fluidly combines drama, thriller and supernatural horror to create an interesting hybrid-genre that touches on the themes of childhood trauma, family and survival. Through Marquis, the film also demonstrates how mental strength can prove to be crucial to a persons’ survival in the most bleak and dire of circumstances. ’Spell’ screenwriter Kurt Wimmer has written a film that happens to centre on African-American characters without hingeing on their race, despite touching on the practise of hoodoo (which dates back to enslaved Africans taken to North America). Within the context of film history, horror has often weaved in specific elements that both overtly and covertly allude to negative depictions of the black diaspora and black culture. These elements have been primarily curated by non-black creators, shaping a very narrow spectrum of the black on-screen presence in horror, that very rarely creates an impact without the issue of race being attached. But Wimmer skillfully avoids these pitfalls with a unique story that provides much needed diversity to a genre that often does not cater to its’ culturally diverse fanbase. The cast of ’Spell’ is lead by Omari Hardwick and Loretta Devine (who is refreshingly cast as a villain), with support from John Beasley and British actress Lorraine Burroughs. Though relatively small, the entire cast all have a significant effect on the story right down to it’s very surprising ending. Director Mark Tonderai excels here in conjuring up a visual treat designed to get under the audiences’ skin whilst also keeping them firmly on their toes. Horror fans in search of something unexpected will find exactly what they’re looking for with this tense and eerie tale of a home-going gone wrong, guaranteed to leave viewers under a spell of dread.
By Dan Lindsay & T.J Martin (2021)
The Queen of Rock n’ Roll. Icon. Legend. These are just some of the words that best describe the singer Tina Turner. But there is one word that will forever be synonymous with the woman whose music many have come to love over the years: Survivor.’Tina’ is a documentary that centres on an intimate sit-down with Turner herself; discussing her early beginnings from small-town girl to global superstar. The film is refreshing in providing a relatively broad look at Tina’s life as a whole; rather than solely focussing on her turbulent relationship with her musical partner and eventual husband Ike Turner. Though he played a pivotal role in her career, the film is astute in reminding viewers that Tina has a story that both pre-dates and surpasses the time she spent with Ike; reinforcing the fact that that one particular period of her life does not define her. The documentary thankfully elaborates on Tina’s life post-Ike; giving an in-depth look at how hard she worked to reinvent herself professionally as well as her latest relationship with husband Erwin Bach. The intermittent use of vintage footage is highly effective in demonstrating both Turner’s raw,magnetic power as a performer onstage and how she tried to conceal her personal struggles in the public eye. It highlights the unfortunate reality that at a time when Tina should have been enjoying life as a successful young woman, she was paying a brutal price behind closed doors. And yet in spite of having had “an abusive life”, Tina never comes across as bitter or jaded; instead remaining poised and gracious as she has done for decades. Furthermore, even though there is sad irony in her bringing joy to others without experiencing it much herself, her personal conduct is a true testament to her character and her ability to be strong in the most challenging of circumstances. The film also includes interviews with friends of Tina, including Oprah Winfrey and Angela Bassett (who portrayed Turner in the biopic “What’s Love Got To Do With It?”); offering their personal views not only on Turner’s 40+ year career, but also on how she has undoubtedly served as an inspiration to generations. Directors Dan Lindsay and T.J Martin have constructed an impressively high quality documentary that will no doubt prove to be intense viewing for those who are not very familiar with Turner’s story. But for those who are, knowing that she eventually triumphs over severe adversity adds to the satisfaction of watching the legend share her story in depth. ‘Tina’ ultimately serves as a professional swan-song of sorts, as the singer stated that this documentary is a goodbye to her fans as she is permanently retiring from the spotlight. Tina Turner has undeniably gained legions of fans across the world through her incredible back catalogue of music and electrifying live performances. Her decades-spanning career has seen her earn 12 Grammy Awards, 3 American Music Awards and a star on the Hollywood Walk Of Fame among countless other accolades. As the curtain comes down on a more than impressive career, Tina bows out of show business gracefully; with this documentary ending on a perfect note.
The 24th
By Kevin Willmott (2020)
Over the decades, there have been countless films made recreating major world wars and events with the large majority of the serving military and militia being white. The presence and participation of black and ethnic people is often largely omitted, in spite of historical proof proving their contributions. ‘The 24th’ is based on the true story of the Houston Riot of 1917, also know as the ‘Camp Logan Mutiny’. The film sheds light on how an African-American Military Regiment - who in spite of their status - were constantly disrespected; facing racism, segregation and discrimination from the white locals and the police. The mistreatment that the soldiers are subjected to further escalates to assault, murder and ultimately a pre-meditated attack on the all black regiment. The soldiers decide to retaliate but the ill-fated decision leads to tragic consequences for them all. ‘The 24th’ is a historical drama that shows the experiences of black militia through their own eyes; a rarely seen and heavily under-represented perspective. Though well-made and well-acted, the sombre tone of the film is inevitable considering the subject matter and the setting of the ‘Jim Crow’ era. Director Kevin Willmott does an excellent job of authentically presenting the harsh reality of military life for African-Americans at a time when there were very little opportunities for them to thrive (professionally, personally or financially). The cast (which includes Trai Byers, Mo McCrae and Mykelti Williamson) give convincing, high-quality performances that ultimately bring Wilmotts’s vision to life whilst also maintaining a strong sense of dignity in the portrayal of the soldiers being depicted. Discovering untold stories often provides an opportunity for filmmakers to create something eye-opening, thought-provoking and entertaining. And while ‘The 24th’ proves to be all three of those things, it is still somewhat difficult to watch people trying to prove their worth by attempting to protect and serve a country that would not - and does not - do the same for them.
United States vs Billie Holiday
By Lee Daniels (2021)
‘Strange Fruit’. A song that paints a raw and unflinching picture of the many lynchings of African-Americans across the United States. The songstress whose voice carries the tragedy? Billie Holiday. ‘United States vs Billie Holiday’ focusses on the later part of the singers’ life; exposing how American law enforcement derailed her successful career. The film shows how ‘Strange Fruit’ made Billie a target for the Federal Department of Narcotics, who used her struggle with drug addiction against her to punish her. She was relentlessly followed around on her tour to simultaneously intimidate her and ensure that she did not perform the song. In addition to this, the Agent assigned to her - Jimmy Fletcher - blurs personal and professional boundaries which unintentionally exacerbates an already turbulent situation destined to end badly. The film itself is a serious drama that ventures beyond surface-based racism. Through Billie Holiday herself, the film provides a unique insight of the side-effects of racism on its’ recipients; boldly achieving its’ objective of showing how the near intrinsic hatred of black people by white people is a driving force that not only destroys lives, but minds and souls as well. Andra Day is stunning in her debut acting performance as the tortured Billie Holiday; earning her first (and highly deserved) Golden Globe for Best Actress in a Motion Picture. Trevante Rhodes (‘Moonlight’) is well cast as the conflicted Agent Jimmy Fletcher, with Tyler James Williams, Leslie Jordan and Garrett Hedlund providing an impressive supporting cast. Filmmaker Lee Daniels presents an obscure yet interesting slice of history here; showing Holiday as a pioneer of socially conscious music at a time when it was unexplored territory. ‘United States vs Billie Holiday’ ultimately proves to be a highly distinctive music biopic in its’ own right due to Daniels’ creative decision-making. Rather than retelling Holliday’s whole life story (as has previously been done with ‘Lady Sings The Blues’), Daniels extracted possibly the most crucial moment of Holiday’s career and magnified the far reaching impact it had; fully acknowledging the sacrifice Billie made as an African-American to jeopardise her life and career in favour of exposing human/civil rights violations. Daniels does not in any way attempt to portray Holiday as perfect - embracing her flaws to show the good, the bad and the ugly - but the demystifying of her later years - and final moments - still proves to be quite shocking considering what she endured was a direct result of her exercising her right to freedom of speech as an American citizen. Lee Daniels is known for his gritty style of filmmaking; approaching each story with the intention of giving audiences an unfiltered look into the lives of his protagonists. And it is this exact approach to his filmmaking that allows Daniels to capture Billie Holidays’ tumultuous final years so perfectly.
Watch the Official Trailer here
Confirmation
By Rick Famuyiwa
‘#metoo’ Is one of the most popular hashtags in social media. The ‘metoo’ movement - founded by Tarana Burke - was a necessary and long overdue explosion; lifting the lid on sexual harassment endured by women across the world. The movement triggered an avalanche of revelations and accusations, which have been both acknowledged and denied by high and low-profile men. But long before this movement existed, one brave woman shared her story. Her name: Anita Hill. ‘Confirmation’ focusses on Law Professor Anita Hill’s court case against Associate Justice (of the United States Supreme Court) Clarence Thomas. Hill’s sexual harassment accusations were shocking, but not as shocking as the treatment and ridicule she received both in and out of the courtroom. Thomas vehemently denied the accusations made against him; using tokenism and reverse psychology as part of his defence. This approach ultimately gained support from both government members and the public, leading to an unfortunate realisation for Hill. The film is a tense drama that hits the ground running; thrusting viewers into the heart of a story that sent shockwaves across the media in the early 90’s. ‘Confirmation’ looks at a potent mix of politics and immorality, and how far people in positions of power are willing to go to make things ‘go away’. Quite frankly, it is an eye-opening look at how the white male patriarchy has conducted itself for decades; dismissing women’s experiences, victim-blaming and supressing women into silence. Kerry Washington accurately embodies Anita Hill’s temperament; vulnerable, well-composed and dignified in spite of the unwanted spotlight being shone on her. Wendell Pierce (‘Death Of A Salesman’) matches Washington’s strong performance as the accused Clarence Thomas; a publicly confident but privately shaken man whose impending promotion - and public reputation - is on the line. This tension filled drama makes compelling viewing, but is an unfortunate reflection of a male-dominated society that is yet to fully respect women.
Strained mother and daughter relationships have often provided many dramatic moments in film (see ‘Mommie Dearest’ and ‘Carrie’); highlighting a harsh tug-of-war between opposing points of view. However ‘Miss Juneteenth’ is subtle with its’ approach to the often turbulent mother-daughter dynamic. Former beauty queen Turquoise Jones is a financially struggling mother raising her teenage daughter Kai. Having missed her chance to go to college because she was pregnant, Turquoise is determined to make sure that Kai has a better chance at life; entering her into the ‘Miss Juneteenth’ pageant for the opportunity to win a college scholarship. But Kai is less than thrilled by her mothers’ plan for her, as she has her own ambitions of becoming a dancer. ‘Miss Juneteenth’ is a slow-paced drama, but this does not diminish its’ ability to hold your attention and keep you emotionally invested in the characters. The contrast between a somewhat jaded Turquoise working in her local bar and hopeful, young pageant contestants onstage evokes a sense of sympathy for Turquoise; her mundane life in the small, quiet town she never left being a constant reminder of what she has lost: a way out. Nicole Beharie delivers a strong, nuanced performance in the lead role as ‘Turquoise’; with good on-screen chemistry alongside Alexis Chikaeze who plays ‘Kai’. Channing Godfrey Peoples has triumphed in writing and directing a stand-out debut feature film, whilst successfully avoiding the temptation to over-sensationalise the difficulties of mother-daughter relationships. If Peoples’ career is going to be her crown, ‘Miss Juneteenth’ is an impressive first jewel.
Avengers: Endgame
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