‘A Thousand and One,’ Breaking Down Its Essential Relationships

 

A Thousand and One film poster.

A Thousand and One— the Sundance Grand Jury Prize winner— proves to be a commendable contemporary film about America’s neglectful foster care system. Set against the gritty Brooklyn backdrop and beginning with the problematic mayor Rudy Giuliani’s reign on New York City, a woman strives to make a better life for herself and her son despite many stacked odds set in place. Moreover, several key character relationships tie everything together in unexpected ways. 

Inez (Teyana Taylor) vows to always put Terry (Aaron Kingsley Adetola) first. DP: Eric Yua.

The first relationship grounds and builds solid foundation: Inez and Terry. 

Young, gorgeous Inez is a tough, outspoken woman shaped by her past. Recently released from prison, Inez dreams of opening her own hair salon. Unfortunately, her overreactive mouth and eager fists jump to fight people and systems, even if they are trying to help. Little Terry—Inez’s son tucked away in the foster care system, seemingly isolated and abandoned— compels Inez to kidnap him. Under aliases and frequent moves across the city, facing great poverty including homelessness, Inez and Terry are inexplicably committed to keeping the secret— a secret that would years later threaten their livelihood. Through all the ugliness and horror, Inez tries her damnedest to be the best possible parent to Terry. She wants what good mothers want to provide for their children: a safe, loving home, respectable manners to display out in the world, street intuition (mainly when dealing with cops), and a fulfilling education. As the sweet, intelligent Terry grows up, defined by Inez’s valid learning-as-she-goes attempt of nurturing, he becomes a healthy product of his environment. 

Kim (Terri Abney) instills some wisdom into Inez about picking fights. DP: Eric Yua.

The second relationship establishes a good BFF: Inez and Kim. 

It may be a difficult choice to make, deciding whether or not to risk your promising future for your best friend. Kim, however, is the reliable confidante the fugitive Inez needs. Inez has a hard time trusting people and her attitude causes a thorny ruckus in Kim’s household. Yet, soft and patient Kim stands by Inez, vowing to keep Inez’s secrets and in turn play a vital role in Terry’s life. Also, Kim genuinely wants what’s best for Inez— something that the woman deserves whilst trying to survive in a city that does not always demonstrate kindness, let alone love and support, especially to former felons. 

Lucky (Will Catlett) and Inez (Teyana Taylor) on their unconventional wedding day. DP: Eric Yua.

The third relationship showcases the pros and cons of turbulent history repeating itself: Inez and Lucky.

Lucky, a former lover, returns to Inez’s life, fresh out the penitentiary. Their love story presents two damaged individuals from the corrupt system gambling on creating a legacy together— to put up a united front for Terry.

“What do two crooks know about raising a family?” —Lucky 

More often than not, people like Inez and Lucky did not grow up seeing the structured family model; that televised cookie cutter dynamic of a loving mama, papa, and children having set meals and celebrating holidays and birthdays together. Thus, mirroring other folks trapped in endlessly traumatic generational cycles, Inez and Lucky do the best they can with their circumstances. Sure, they fight. Oftentimes, violently (verbal insults and destroyed furniture). No one is physically hurt. Feelings are bruised, yes. 

However, Inez and Lucky have one major factor in common: putting Terry at the top of their hierarchy. 

Lucky puts his heart, soul, and music into winning Terry’s heart. DP: Eric Yua.

The fourth relationship places high value on the father/son dynamic: Terry and Lucky. 

Lucky emerges into this new role as though he was destined to carry Terry on his shoulders. Lucky instills profound wisdom, pushes himself as a father figure even though he is far from perfect. No one is truly perfect anyway. Terry begins looking up to this man, opening up from his quiet shell, allowing the trusting bond to naturally form. The heavy, unbearable dramas depicting Black life can turn moviegoers away; this “why must we always showcase our pain and struggle” question that arises at every new picture that comes along, asking us to think and feel. Yet, in light of this excruciating weight, the powerful tie between Lucky and Terry gives the film its effervescent rainbow, its shining glory. There is never an uncomfortable moment, no desire to turn away from their important, must-watch scenes. Although no biological blood exists in these two individuals, Lucky and Terry prove that instinctive hearts choose families.  

As witnessed in her beautiful short film Feathers (on the Criterion Channel), A Thousand and One writer/director A. V. Rockwell places an eloquent emphasis on championing impressionable Black boys. By giving them inspiring figures that believe in and vouch hard for them in a country aggressively holding onto its historically brutal nature, Rockwell allows Black boys to be seen as children worthy of love and compassion. They are not depicted as future criminals— not in the eyes of those who care about them. Following behind previous Sundance winners: Ava DuVernay, Chinonye Chukwu, Ryan Coogler, and Nikyatu Jusu, Rockwell’s future shines brightly. She is one to watch as more and more filmmakers (especially Black women filmmakers) continue highlighting our stories with phenomenal originality, often times giving fresh actors/actresses a chance to shine in an industry valuing the same ole, same ole. 

Celebrate her choices or disagree with her, Inez only did what she thought was best. Illegal. Still, who else would have guaranteed Terry receive what he needed most out of life? DP: Eric Yua.

In addition to A Thousand and One’s Black woman writer/director, other behind-the scenes diverse inclusivity include the incredible Gary Gunn, a gifted Black composer, Eric Yua, an Asian American cinematographer, and women on editing, production design, art, and costuming roles. The acting too is top notch. Teyana Taylor (personally first seen in a certain must-not-be-named music video) convincingly portrays Inez’s varied complexities, giving her a compelling range of vulnerability— happiness, ferocity, regret, and love. Will Catlett (First and Black Lightning) has enormous screen presence as the tender, adoptive father figure Lucky— a man of flaws, but with a very sincere heart and spirit. The three Terry’s (Aaron Kingsley Adetola, Aven Courtney, and Josiah Ross) were exceptionally good— although Courtney’s part was shorter than the other two. 

The stunning, well-crafted A Thousand and One will leave anyone speechless by its depth and emotionally stirring surprises. 

March 2023 Film Watches

A still from Cauleen Smith’s Drylongso (1998).

March was a month mainly comprised of short films— which may be the simplest approach for women filmmakers. Feature-length seems a harder task (more expensive), especially for Black women. 

Last month, Gina Prince-Blythewood said, “Black centered films are the hardest to get made” at the 16th Annual Essence Black Women in Hollywood event and that’s reflected through available choices. 

Recently acquired The World of Wong Kar Wai Collection from the Criterion flash sale and look forward to the release of Barry Jenkins’ Medicine For Melancholy (2008) and Alice Diop’s Saint Omer (2022, still no release date). 

1.) “Emily” (2023) Frances O’Connor #* 7/10

2.) “Pariah” (2012) dee rees *+ 10/10

3.) “Thirst” (2009) Park Chan-wook ^ 8.5/10

4.) “The Stunt Woman” (1996) Ann Hiu #^* 7/10

5.) “The Heroic Trio” (1993) Johnnie To #^ 9/10

6.) “Night Fishing” (2011) Park Chan-wook & Park Chan-kyong #^ 7.7/10

7.) “Judgment” (1999) Park Chan-wook ^ 9/10

8.) “Far North” (2007) Asif Kapadia #^ 3/10

9.) “Yes, Madam” (1985) Corey Heum #^ 6.5/10

10.) “Maya & Her Lover” (2021) Nicole Sylvester #*+ 6/10

11.) “Feathers” (2018) A. V. Rockwell #*+ 8.5/10

12.) “Pillars” (2020) Haley Elizabeth Anderson #^ 9/10

13.) “Amulet” (2020) Romola Garai #* 6/10

14.) “Flowers” (2015) Nikyatu Jusu and Yvonne Michele Shirley *+ 9.5/10

15.) “Black Swan Theory” (2011) Nikyatu Jusu #*+ 7.5/10

16.) “20 Weeks” (2017) Leena Pendharkar #*^ 2/10

17.) “Say Grace Before Drowning” (2010) Nikyatu Jusu *+ 8/10

18.) “African Booty Scratcher” (2007) Nikyatu Jusu *+ 9.5/10

19.) “Suicide By Midnight” (2019) Nikyatu Jusu *+ 10/10

20.) “To Be Free” (2017) Adepero Oduye *+ 9/10

21.) “The Disappearance of Mrs. Wu” (2021) Anna Chi #^* 5/10

22.) “Drylongso” (1998) Cauleen Smith #*+ 9/10

23.) “Fallen Angels” (1995) Wong Kar Wai #^ 7/10

24.) “Chungking Express” (1994) Wong Kar Wai #^ 10/10

25.) “Executioners” (1995) Johnnie To #^ 7.5/10

26.) “Thunder on the Hill” (1951) Douglas Sirk # 9.5/10

27.) “Tortilla Soup” (2001) María Ripoll #*^ 8/10

28.) “Yellow Fever” (2012) Ng’endo Mukii *+ 10/10

29.) “Mtindo”(2018)  Ng’endo Mukii #*+ 7/10

30.) “Rye Lane” (2023) Raine Allen-Miller #*^ 10/10

31.) “My Friend From the Park” (2015) Ana Katz #*^ 4.5/10


# first time watch

*woman filmmaker

*+Black woman filmmaker

^nonwhite filmmaker

Other notes: 22 first time watches, 30 films directed/written by nonwhite filmmakers, and 21 films made by women. April is National Poetry Month and some of my intended film selection will reflect that.