tag:blogger.com,1999:blog-14948717593451384962024-03-26T23:35:47.150-07:00femfilmrogueFem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.comBlogger205125tag:blogger.com,1999:blog-1494871759345138496.post-19516175545918484792024-03-25T14:02:00.000-07:002024-03-25T14:25:03.711-07:00Damn Davis! I Didn’t Know Your Restaurant Delivered!<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgstv9Urqxt1H1PPgKk4SI-EPivIkN1e8hsCt6MOxT3pTeEuwgNuGqr1dBLA3721aELUTBwqVsljKuwaM3F73is4FCk3UzomSQMk-TauquA_B6a6FEZX0fhox604dDEXKjtMroBs9tq_ixQ2LoNkuwu7QSwdHdxuMSJYn5piRnE9JvguiSZhVyTMUVBDA/s640/IMG_0842.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgstv9Urqxt1H1PPgKk4SI-EPivIkN1e8hsCt6MOxT3pTeEuwgNuGqr1dBLA3721aELUTBwqVsljKuwaM3F73is4FCk3UzomSQMk-TauquA_B6a6FEZX0fhox604dDEXKjtMroBs9tq_ixQ2LoNkuwu7QSwdHdxuMSJYn5piRnE9JvguiSZhVyTMUVBDA/s320/IMG_0842.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The one ship in <i>Girlfriends</i> that didn’t get a chance to sail—(Joavis or Hamton) for Joan Clayton and Davis Hamilton. </td></tr></tbody></table><p></p><p>Picture this: a <i>Girlfriends</i> reunion film includes Joan Clayton and her three besties Maya Wilkes, Lynn Searcy, and Toni Childs alongside Toni’s twenty-year-old daughter Morgan Garrett and Maya’s son Jabari Wilkes indulging in the ultimate bachelorette weekend in Ghana. The lush, colorful scenery gives the audience an inviting glimpse into African glory, the hypnotic beats set the mood, and the golden ladies dance with each other, dewy skin glowing, fully in the cusp of embracing their fifties. Out of nowhere, the music stops and Davis enters, his eyes finding Joan’s immediately….</p><p>Sadly, it won’t happen, as any potential has been <a href="https://www.bet.com/article/p7alcr/tracee-ellis-ross-shuts-down-rumors-of-a-girlfriends-reboot" target="_blank">shut down</a>— not to say that my idea was their intention anyway. Might be better in the fanfiction realm. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVegAKvwYMdw-0tkQgMqkArKgJG21KORxGeto598Ww_S-ttwhpbUutOApQrjaUWosJ0uAgYVLakQEJa8LVm4CsyWxVU6SVPAbtPptCmK_iekeC_04i7PrxauT_47Yh49lVD6voujXt6zJgS64-qU3d9J1JpYG2O5fKiPUHYGR5N1OVXWsXK6pDb7ADVg/s3627/IMG_0815.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2347" data-original-width="3627" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVegAKvwYMdw-0tkQgMqkArKgJG21KORxGeto598Ww_S-ttwhpbUutOApQrjaUWosJ0uAgYVLakQEJa8LVm4CsyWxVU6SVPAbtPptCmK_iekeC_04i7PrxauT_47Yh49lVD6voujXt6zJgS64-qU3d9J1JpYG2O5fKiPUHYGR5N1OVXWsXK6pDb7ADVg/s320/IMG_0815.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Davis (Randy Goodwin) and Joan (Tracee Ellis Ross) shared conversation proves that their attraction remains mutual despite their opposing relationship goals. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYKIvNNRhPJeRDeCVrfIiLhyphenhyphenJ7_voZZzWT5kZPMUvAscWkw8U30l3IoYK_essCMeggPDI04vsSS5oZ_GVTgnsFb9seXlTG9e_u-hJqALjIsh7xKZRUX7hHe8QYzKszoyttyfx7GGPkcm8zubhu_h2a-q2-CwjHcsfcdx1rSiPyZbKTb7Bnl2VNCIZqqQ/s3457/IMG_0816.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2308" data-original-width="3457" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYKIvNNRhPJeRDeCVrfIiLhyphenhyphenJ7_voZZzWT5kZPMUvAscWkw8U30l3IoYK_essCMeggPDI04vsSS5oZ_GVTgnsFb9seXlTG9e_u-hJqALjIsh7xKZRUX7hHe8QYzKszoyttyfx7GGPkcm8zubhu_h2a-q2-CwjHcsfcdx1rSiPyZbKTb7Bnl2VNCIZqqQ/s320/IMG_0816.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Davis doesn’t want to let go of Joan’s hand and who could blame him? </td></tr></tbody></table><p>Davis Hamilton, the handsome owner of the 847 restaurant was the best possible fit for Joan, lawyer turned eventual business owner. Who could ever forget their fire chemistry in season one’s second episode, <i>One Night Stand</i>? Joan almost risked her three-month rule, telling an elaborate exaggeration to her friends about an innocent moment between her and the engaged Davis. It’s where we get Toni’s infamous line, “damn Davis! I didn’t know your restaurant delivered!” </p><p>By the end, a newly single Davis offers Joan the very thing she was obsessing over. </p><p>“Yes! Oh God yes! The couch, the tables, wherever you want!” Joan’s mind screams. </p><p>Bravely, Joan sticks to using her shower head for experimental purposes. Her declination of Davis also promised growth, that the next partner would be worth the drought. Whereas Davis represented playing the field— the kind of man putting no effort into a commitment so soon after a called off engagement. He was nursing no broken heart and desired an instantaneous “no strings attached” situation, a lackluster, anti-Joan incentive. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxcEzco8Aw-dog7JEFceDcEqI46JSW1uQCTEsGR3OXYVoE3esobyUIIurh088TpNPLhDYGETkoRA-wh0lmYnyPUrvgrtIutyULwYC-W36fjkIoys7mXgmnGMcqEfjquyCeyYrJTaALQPghPsY4HinR0zszPw8ZnYn9CjINfS9Hx2tvuIpV41TJTbmaEQ/s3922/IMG_0818.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2551" data-original-width="3922" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxcEzco8Aw-dog7JEFceDcEqI46JSW1uQCTEsGR3OXYVoE3esobyUIIurh088TpNPLhDYGETkoRA-wh0lmYnyPUrvgrtIutyULwYC-W36fjkIoys7mXgmnGMcqEfjquyCeyYrJTaALQPghPsY4HinR0zszPw8ZnYn9CjINfS9Hx2tvuIpV41TJTbmaEQ/s320/IMG_0818.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Look at Joan’s (Tracee Ellis Ross) smitten face as Maya (Golden Brooks), Toni (Jill Marie Jones), and Lynn (Persia White) watch in season one, episode fourteen’s <i>Bad Timing</i>! </td></tr></tbody></table><p>Joan and Davis continue their light flirtations along the course of random episodes, a subtle cross between a friendly association and sweet customer / owner camaraderie. Joan enters relationships with Marcus, the hips who buys the special Joan-tone phone, Frank, the married guy, and Sean, the recovering sex addict— the latter notices a problem between Joan and Davis.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGegclzRJyJlN1Vg36n1aGlj5MBus6E42pb70kBeyqcnXLohwMO99pcHs4Dd1lVdxJYHdgbm5PuWpuTXHXTP5dkX8gZNsiPUGmXIXz4qc70uz3LKa7kRgudbz8V4z21J5kZtRcZ9-kYJJPD04x0kf3F7XhFgGlAZilX24L5yYj4Bvt8qQvLHggd0ilPw/s4030/IMG_0827.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2597" data-original-width="4030" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGegclzRJyJlN1Vg36n1aGlj5MBus6E42pb70kBeyqcnXLohwMO99pcHs4Dd1lVdxJYHdgbm5PuWpuTXHXTP5dkX8gZNsiPUGmXIXz4qc70uz3LKa7kRgudbz8V4z21J5kZtRcZ9-kYJJPD04x0kf3F7XhFgGlAZilX24L5yYj4Bvt8qQvLHggd0ilPw/s320/IMG_0827.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">When Sean’s away to Toronto around Valentine’s Day, Davis brings lunch over to Joan’s office and steals a passionate kiss. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkIN4xojN6Ang31QeJJ1uaySxcwolXjBG1yZ0kxTLLHeWEaWCeSroTt9FAbfexzZOt1EkLUX1WLP-1N6M6CxrTYtLvxZtnUPREg_IU3MEFC7QXa888n17Ikg9w3GIZ4JJ1QQqBpiikcmbd593ic7IjVM61-RwtMOcMJKZpK2ZCOz2HM_0OlGnX8U8sbg/s3235/IMG_0831.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1972" data-original-width="3235" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkIN4xojN6Ang31QeJJ1uaySxcwolXjBG1yZ0kxTLLHeWEaWCeSroTt9FAbfexzZOt1EkLUX1WLP-1N6M6CxrTYtLvxZtnUPREg_IU3MEFC7QXa888n17Ikg9w3GIZ4JJ1QQqBpiikcmbd593ic7IjVM61-RwtMOcMJKZpK2ZCOz2HM_0OlGnX8U8sbg/s320/IMG_0831.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Later, Davis (Randy Goodwin) comes to Joan’s (Tracee Ellis Ross) house and requests her company for the weekend— to explore what it is between them. Sean (Dondre T. Whitfield) returns early and doesn’t like what he sees. </td></tr></tbody></table><p>Joan is tempted by Davis’s enticing Palm Springs weekend, showcasing that the man still hasn’t learned from <i>One Night Stand</i>. If Joan and Davis were both available, their relationship foundation would have been stronger and mutually beneficial— the only scandal existing being their electric charisma. Unfortunately, Joan ultimately chooses Sean over Davis, settling. In the long run, perhaps Joan believes that Davis isn’t serious, that he would break her heart. She didn’t want to take that chance. Instead, she lets her boyfriend issue an ultimatum— stop going to Davis’s restaurant. </p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqTWOsG-SAAP5gIlKXSaNyYRTKNmSjpemSy9HU97Ycxcyx6NGwX_vUxehFJBKnHFO5LrwZWXwanPKNaPrEnXAGQ0HXFMt0a6hiJ4KFc2KZb5V2MfDrH5y35u7GAnExGIcrtyWRacsbj1EJGbyMevsKzn4eqQsmTFSe3YjCJKapgB85m8ncdeNfjlw2g/s3352/IMG_0835.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2159" data-original-width="3352" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqTWOsG-SAAP5gIlKXSaNyYRTKNmSjpemSy9HU97Ycxcyx6NGwX_vUxehFJBKnHFO5LrwZWXwanPKNaPrEnXAGQ0HXFMt0a6hiJ4KFc2KZb5V2MfDrH5y35u7GAnExGIcrtyWRacsbj1EJGbyMevsKzn4eqQsmTFSe3YjCJKapgB85m8ncdeNfjlw2g/s320/IMG_0835.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan and Sean and Davis and Ava stay cordial, but the little longing looks Joan and Davis give each other over their loved one’s shoulders spoke volumes. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3jvsyxB18d-HHtxuK6bi5vUo2TnedBA4ELaRAjqDwEeEwQiax5tUELYCEosyfrfOW0mpc2usWfFU3rFPXhtSTHpzbqpOR-Ts_y0fHEEItRMEVdYE8Go2vziI2R_sFjVdXQCB6I3WYsDsk9fhFeoHtudeUGNMgy-1RzyMTje2gI4Gb07Fb5aTFLNEfA/s3023/IMG_0838.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2142" data-original-width="3023" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3jvsyxB18d-HHtxuK6bi5vUo2TnedBA4ELaRAjqDwEeEwQiax5tUELYCEosyfrfOW0mpc2usWfFU3rFPXhtSTHpzbqpOR-Ts_y0fHEEItRMEVdYE8Go2vziI2R_sFjVdXQCB6I3WYsDsk9fhFeoHtudeUGNMgy-1RzyMTje2gI4Gb07Fb5aTFLNEfA/s320/IMG_0838.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Davis straight macks a blushing Joan as Sean uncomfortably looks on in season one, episode nineteen’s <i>A Kiss Before Lying</i>— a play on Ernest Gaines novel <i>A Lesson Before Dying</i>. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuy9hT_MGUnUZR2ZwqkjmU9OcU-4UIiA8QRO42mjHWttTdyfD8zPq1O0k90z_PmEZJxjqoWdwGIq3211ikPGSqQBisBV7C8B1AahZ3vTiuIkYONhY2so5FHe__Sj5M9z1Ihka-lyRdTOVoRIH2PNGH_Gj9eKLLHUtp1k1k9GlzrogQerfMz4QezFHiNQ/s3202/IMG_0839.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1967" data-original-width="3202" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuy9hT_MGUnUZR2ZwqkjmU9OcU-4UIiA8QRO42mjHWttTdyfD8zPq1O0k90z_PmEZJxjqoWdwGIq3211ikPGSqQBisBV7C8B1AahZ3vTiuIkYONhY2so5FHe__Sj5M9z1Ihka-lyRdTOVoRIH2PNGH_Gj9eKLLHUtp1k1k9GlzrogQerfMz4QezFHiNQ/s320/IMG_0839.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan hosts an intimate dinner at her home with Sean, Davis, and Ava. It does not go well. </td></tr></tbody></table><p>Joan and Davis’s last encounter occurred in season four, episode thirteen’s <i>The Comedy of Eros— </i>and it involves an humbling intimacy differing from their previous interactions. In fact, the short and special interlude makes us still pine for what ifs between them. </p><p>After a recent breakup, Joan spends February Fourteenth celebrating that other holiday— the disregarded Single Awareness Day. This down-to-earth side of Joan temporarily quiets her typical obsession about men, getting hitched, and having babies for a minute, to love on herself. However, it was quite adorable that Toni bought Joan a tennis bracelet. She knew where to find her best friend, having noticed that Joan’s “movie sweater” was missing. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA3ZqzfvuM8XVaUKgnhBZMSZx-BMsomjmUZJ6NI9zyyWMCeF_HUoSFyhSx-cWlmRQUGETkqLIjnponNnVbEuzTwDpQPwR4swyJTVpd1boiY7LQpviO9W4vuX3Zh34-EWNzaJRRaIHVR5C4dD5duARhNlQT6QB3PoFH9ZOOdPkfDrifX_Osv6zkvFTU_Q/s3298/IMG_0848.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2041" data-original-width="3298" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA3ZqzfvuM8XVaUKgnhBZMSZx-BMsomjmUZJ6NI9zyyWMCeF_HUoSFyhSx-cWlmRQUGETkqLIjnponNnVbEuzTwDpQPwR4swyJTVpd1boiY7LQpviO9W4vuX3Zh34-EWNzaJRRaIHVR5C4dD5duARhNlQT6QB3PoFH9ZOOdPkfDrifX_Osv6zkvFTU_Q/s320/IMG_0848.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Toni believes that going to the cinema alone is pathetic and kindly wants to be there for Joan…</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3IRVwy2XutBQvsWSH5PFojXBpANXV9JlnS7NoOXhtPwAH4vwcvgTmIzZRKq8QEpkKH1gNEzXp5BnYYDqLBzXrYPDbBRCsQMX7OiXsXFah7-f86mkVWxSHuwFX2JM9OKKvV_j-H6hiX5Pqxfq9n1JZkJN25WPxPqUi3mBn0uT9UM1xaYGM2h09ziiLiw/s3457/IMG_0849.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2035" data-original-width="3457" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3IRVwy2XutBQvsWSH5PFojXBpANXV9JlnS7NoOXhtPwAH4vwcvgTmIzZRKq8QEpkKH1gNEzXp5BnYYDqLBzXrYPDbBRCsQMX7OiXsXFah7-f86mkVWxSHuwFX2JM9OKKvV_j-H6hiX5Pqxfq9n1JZkJN25WPxPqUi3mBn0uT9UM1xaYGM2h09ziiLiw/s320/IMG_0849.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Except Joan doesn’t want her company. <br /><br /></td></tr></tbody></table>Joan evades her well-meaning bestie, moving to another part of the theater and bashes popcorn in front of none other than Davis Hamilton. They bask in the delight of each other’s presence, hugging and smiling, looking like radiant old friends. The chemistry remains undeniably palpable despite Joan’s determined independence. It’s hard to believe that their past merely included Davis giving Joan discounted meals at 847, stealing a sullen kiss, and asking her to go away with him. <div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQwFWOutvRx-vw3C6fI_EqozUjfFDVKUICP04b3OSXPG1LZR1eHf_TL-BpPE41fEw4rfg9o4LrtR_bujjbEmn41e8toZWhkGqGWmyDU_absdKUrH_3gWWHwqVFVnWjRLsceKvtJAB3Gtg-FztUVX5zLxNWnspGSt_H_ETIZwKgE9LlKWy5vqeC4LxXug/s3370/IMG_0850.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2244" data-original-width="3370" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQwFWOutvRx-vw3C6fI_EqozUjfFDVKUICP04b3OSXPG1LZR1eHf_TL-BpPE41fEw4rfg9o4LrtR_bujjbEmn41e8toZWhkGqGWmyDU_absdKUrH_3gWWHwqVFVnWjRLsceKvtJAB3Gtg-FztUVX5zLxNWnspGSt_H_ETIZwKgE9LlKWy5vqeC4LxXug/s320/IMG_0850.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan enjoys her film and popcorn as a familiar face recognizes her.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsKFV5WbNS28kDQwW7zBnpz_afZkl-2vObdid-F83uYDvcEbqbS7nJ6QJwDZu9Y7RDoqkskHrsOSGoJjjF6swZzQD07qfENmywzJGENqHJz56BEAFKftD8Nznh_2fzrGc9X805S2ZLrREXm3uFWJdcTmg4_d3XZqRP_DZo92lCzICkoDpYtyNX9EFGFQ/s4032/IMG_0851.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsKFV5WbNS28kDQwW7zBnpz_afZkl-2vObdid-F83uYDvcEbqbS7nJ6QJwDZu9Y7RDoqkskHrsOSGoJjjF6swZzQD07qfENmywzJGENqHJz56BEAFKftD8Nznh_2fzrGc9X805S2ZLrREXm3uFWJdcTmg4_d3XZqRP_DZo92lCzICkoDpYtyNX9EFGFQ/s320/IMG_0851.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Naturally, Joan and Davis sit together.</td></tr></tbody></table><br /><div>Joan and Davis later have dinner and wine at a restaurant, appearing every bit a couple surrounded by other couple. Davis has once again broken off his engagement to Ava and no longer runs 847. He reminisces on their three-year-old near rendezvous, also occurring near Valentine’s Day. Joan admits that she too is single. He asks the big question— “how come we never got together?” </div><div><br /></div><div>Bad timing. Always bad timing. </div><div><br /></div><div>True to life. </div><div><br /></div><div>Often, circumstances do not align at the moments we want them to. In the beginning, Joan and Davis both needed to mature in certain areas of their respective lives. The mutual attraction was always evident. They just were never ready to go there, to get real serious and vulnerable. Joan sabotaged almost all her relationships with her strict rules and bare minimum compromise. Davis, the cavalier flirt, kept bouncing back to Ava, obviously connected to her in a major way. Thus, there’s no telling if he eventually reunited with her. Or maybe the change in his character was genuine and honest, letting go of the unhealthy weights that no longer held value to him. </div><div><br /></div><div>Still, Joan friendzones Davis and views another film, taking pride in her choice to be alone. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJtmtaqPmkbdWGkFm8IuGs4mYF98oa_TXw93ngWTnm_Slgk8iNi8hTC3Y1lbpZR-NHFkd4PK3isYI4iDtxopAWJKIsmr616m7rZMn6K-m2z04D72or3pvaKJp02MywZFqXneAGwKrCbVd0-Tg0GyLbueHjqEKNropGbtIFGzzjHV4vEedF1pd1kR6_-w/s3451/IMG_0857.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2381" data-original-width="3451" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJtmtaqPmkbdWGkFm8IuGs4mYF98oa_TXw93ngWTnm_Slgk8iNi8hTC3Y1lbpZR-NHFkd4PK3isYI4iDtxopAWJKIsmr616m7rZMn6K-m2z04D72or3pvaKJp02MywZFqXneAGwKrCbVd0-Tg0GyLbueHjqEKNropGbtIFGzzjHV4vEedF1pd1kR6_-w/s320/IMG_0857.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan and Davis toast to becoming friends (offscreen because we never see or hear him mentioned again). </td></tr></tbody></table><br /><div>Overall, an indie-spirited <i>Girlfriends</i> film not happening seems so cruel, especially after eighteen years without receiving solid answers. Fans deserve a proper ending to eight seasons. We can invent stories in our heads about Joan, Lynn, Toni, and Maya having backyard barbecues, continuing old traditions such as Joan’s wild Halloween parties. Toni and Joan would reset their relationship as Issa and Molly had done in <i>Insecure</i>. The four ladies would chat about shopping, staying fabulously beautiful, and keeping their relationships exciting among menopause, adult children, dying parents, and health scares. The multiple story arcs potential is strong. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilq53ULfeUc0PE-Xd0J234UEfQQJhYQ4PQJ2_BiQH7d4u9L3iu3pZuhhJkp2YvZvCYJqHLht5Ik85MnNnkJSdxnd7yKl_4UG3LHq_9Cs1McdsIB_TBk3vsMMgXfUNldIRrJywCme93YuO8K5v2waxNr_SB8zXYqSpOYoAKsbdlPviO9mukDblRnoRujQ/s1500/IMG_0861.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilq53ULfeUc0PE-Xd0J234UEfQQJhYQ4PQJ2_BiQH7d4u9L3iu3pZuhhJkp2YvZvCYJqHLht5Ik85MnNnkJSdxnd7yKl_4UG3LHq_9Cs1McdsIB_TBk3vsMMgXfUNldIRrJywCme93YuO8K5v2waxNr_SB8zXYqSpOYoAKsbdlPviO9mukDblRnoRujQ/s320/IMG_0861.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The ladies were together again in a 2019 episode of <i>black•ish</i>. </td></tr></tbody></table><p>So while Joan Clayton and Davis Hamilton are the key couple in my romanticized imagination, Joan alongside Maya, Lynn, and Toni stays the central heart of the vision— the true love story that Mara Akil Brock wanted audiences to root for. </p></div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-30327018656170317642024-03-03T15:18:00.000-08:002024-03-03T17:28:35.669-08:00Another ‘Abbott Elementary’ Couple Bites The Dust In An Unexpected Way<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOyA6oGaV4kfXXM9fcb58DmQalxk3O2sBVpVbc2m_1cIxnRcO0CtP7dkpg7XR3ZOQu4cnuWAfPUfja_sgJh5aL2f7oWkk62Sb1ZIcz6FClVZuT95aOtsNrCdz7zgfJMSRGcGOnZjYofmPqHD4yJECEm-0xuMNvKZdtBlkZPCGDXkEzsGlGB0HU5kCftQ/s1350/7CEA25E1-0906-483C-B524-18212D9F8576.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="888" data-original-width="1350" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOyA6oGaV4kfXXM9fcb58DmQalxk3O2sBVpVbc2m_1cIxnRcO0CtP7dkpg7XR3ZOQu4cnuWAfPUfja_sgJh5aL2f7oWkk62Sb1ZIcz6FClVZuT95aOtsNrCdz7zgfJMSRGcGOnZjYofmPqHD4yJECEm-0xuMNvKZdtBlkZPCGDXkEzsGlGB0HU5kCftQ/s320/7CEA25E1-0906-483C-B524-18212D9F8576.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacob and Zach during happier times in season one’s <i>Zoo Balloon</i>.</td></tr></tbody></table><br /><i><a href="http://femfilmrogues.blogspot.com/2023/01/abbott-elementary-best-show-of-year.html?m=0" target="_blank">Abbott Elementary</a></i>’s Zach and Jacob delivered another heartbreak on our beloved comedy. The season three premiere previously showed Melissa dumping her boyfriend Gary, the vending machine guy while Gregory put an abrupt period on whatever could have been between <a href="http://femfilmrogues.blogspot.com/2023/05/the-promising-evolution-of-janine.html?m=0" target="_blank">him and Janine</a>. Plus, Janine has temporarily left her treasured second grade classroom for a fellowship office at the school district. Since January, it seemed the audience emerged straight into a Philadelphia cold front. <br /><br /> Everyone shifted. Nothing was the same. <br /><br /> Offhandedly, Janine did reveal that she spent her summer with Jacob and Erika. So, where did that leave Zach if not hanging out with his boyfriend and his crust eating queen? <br /><br /> In <i>Break Up</i>, the fifth episode written by Brittani Nichols (<i>Student Transfer</i>, <i>Ava Vs. Superintendent</i>, <i>Fundraiser</i>, <i>Principal’s Office</i>, and <i>Franklin Institute</i>), Zach and Jacob hit a major snag. Instead of expressing his thoughts out loud ala that memorable “outgrowing a person” advice that he gave to Janine in season one’s Work Family, Jacob sets up passive aggressive tactics that would make anyone go insane. So yes, Zach was righteously angry. An intentional Jacob pushed Zach’s buttons— and those overdramatic gasps.... just amazingly conveyed. <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbGwHYywlwJJVv0QZmW4TD_jkqRYKiSMIRhACcuFATsXOjz67vmype7scN5frMnqeTyzA65MSo__DwlSQvW0mrfXvzCr_vxzRUnyWXq5gq69_5j7NSE5gbX7aKnWvKY-O_VbTnsCpTPzIsLfrfkmP1rrzvEZsZzbDAKv-8pZ3GwgZWrjcFM5IJlD3bA/s1919/BC58EF9C-ABC8-408E-A274-3A4DE576375C.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1132" data-original-width="1919" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbGwHYywlwJJVv0QZmW4TD_jkqRYKiSMIRhACcuFATsXOjz67vmype7scN5frMnqeTyzA65MSo__DwlSQvW0mrfXvzCr_vxzRUnyWXq5gq69_5j7NSE5gbX7aKnWvKY-O_VbTnsCpTPzIsLfrfkmP1rrzvEZsZzbDAKv-8pZ3GwgZWrjcFM5IJlD3bA/s320/BC58EF9C-ABC8-408E-A274-3A4DE576375C.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A teary Zach (Larry Owens) agrees that a breakup may be the right thing to do for him and Jacob (Chris Perfetti) in <i>Break Up</i>. DP: Michael J. Pepin.</td></tr></tbody></table><p>When Zach realizes that Jacob has been manipulating the situation, a furious Zach snatches off any edges Jacob may have had. In that passionate, insult-filled spiel, Jacob probably realized he shouldn’t have bragged about his successful schemes. Zach releases “the kraken” and spills so much tea that you wonder how Jacob withstood the heat— and this is before teaching his class too. Damn. </p><p>“And you held our team BACK at trivia night!” Zach snarls, emphasizing <i>back</i> with intentional zing. <br /><br />If you remember in <i>Desking</i>, season one’s eleventh episode, Zach discloses that they came in third place, Jacob adding that it was due to a technicality. </p><p>Zach looks back at Jacob one last time and departs on a singsong “oh my god.” Laughter comes gushing out uncontrollably. That was, hands down, the most funniest breakup ever witnessed. Not a dry eye in the house. While Melissa and Gary were sad yet amicable and Gregory and Janine crushed shipper spirits, Zach made history by going another route altogether. He was in pain, but wanted to make Jacob feel it too, and you had to respect it. </p><p>Still, queer breakups are as tragic as the <a href="https://tvtropes.org/pmwiki/pmwiki.php/Main/BuryYourGays" target="_blank">BYG</a> trope, especially considering that there is so little evidence on network television at present. Streaming services showcase LGBTQIA+ relationships more— and in braver ways. Zach and Jacob appeared more buddy roommates than lovers. Several episodes showcased their major differences— Jacob being anti-holidays and carols while Zach loved singing and preferred people on-key. They always hugged. Never kissed. At least Zach and Jacob had sneakers in common— the thing that brought them together— and Jacob gushed about Zach in that cutesy, fanboy way whenever possible. Also, they loved mythology, Zach referencing the kraken sea monster and Jacob always bringing up Icarus, who flew close to the sun. These two are still in their twenties, the age of constant learning and growing, entering and leaving relationships, building themselves up and maturing in all facets of life. Maybe they can come back someday. Who knows? It’s fascinating to watch Jacob and Zach navigate the contemporary dating scene— even if we don’t get to see Zach’s journey onscreen. Jacob has Gregory and Janine. Together they’re a trio of singles becoming closer than ever. <br /><br />Overall, <i>Abbott Elementary</i>’s impressive ensemble kills it every week— guest stars of LGBTQIA+ community included. Sabrina Wu, the eccentric K-pop loving scene stealer of Adele Lim’s raunchy feature-length debut <i>Joy Ride </i>was Janine’s sub teacher of the week, Cassidy Geoffrey. The incredible Larry Owens, Zach’s portrayer who’s won major theater awards galore, must return. He could be a temporary choir teacher pretending not to harbor jealousy over Jacob’s dating “success” stories or just a raucous uncle chaperoning his nephew to eighth grade. Regular Chris Perfetti, our resident Mr. C, remains a wonderful gifted performer, nailing every beat of Jacob’s trials and tribulations. <br /><br />Now with another couple’s recent demise, is Barbara and Gerald or Ava and Iggie [snorts] safe? </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-836383023509846092024-01-29T08:22:00.000-08:002024-01-30T03:25:08.567-08:00That Grown Black Love in ‘Cherish The Day’ Season Two<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-r4PL7eBtcjp16wk277gvowz5OhlCQJ94mf2gW-qeUZKXGWMySIN9p6kwfTfYSN2ofq09h_7snxHlIhucsTiaeJobU_fiE4fLwJF-5o6J0Nrs5vUAhMhZRZb-KO5Qt76LcIJm3YqXg7gCUR_HTZEeyuSJw0fZkATE5B-JnTeLZllwoOpNJq810ja0Lg/s1440/IMG_3734.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-r4PL7eBtcjp16wk277gvowz5OhlCQJ94mf2gW-qeUZKXGWMySIN9p6kwfTfYSN2ofq09h_7snxHlIhucsTiaeJobU_fiE4fLwJF-5o6J0Nrs5vUAhMhZRZb-KO5Qt76LcIJm3YqXg7gCUR_HTZEeyuSJw0fZkATE5B-JnTeLZllwoOpNJq810ja0Lg/s320/IMG_3734.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Cherish the Day</i> promo poster. </td></tr></tbody></table><p></p><p>While the first <i>Cherish the Day</i> anthology focused on Gently James and Evan Fisher’s five-year relationship span, the second season focuses on a few months of a couple’s blossoming reunion. The moment former high school sweethearts locked eyes in a New Orleans hardware store, sparks flew between vegetarian chef Sunday St. James and plumber Ellis Moran. It was the first time they had seen each other in some twenty odd years. Apparently, Ellis messed up a good thing. </p><p>Long ago, Ellis cheated on Sunday. Many years later, Ellis’s wife Anastasia cheated on him with Danny, her tour manager. Karma ate Ellis hard, but he’s ready to make amends. He’s an older, much matured man no longer wanting to play little boy games. Ellis and Sunday are both too grown. </p><p>With that, time has to be intentional. </p><p>Ellis must prove himself worthy of Sunday’s heart.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqfinzpqRI4jkay-8eZAGXkEE-N34-CTf6KDfDukqZGQmaZQCO1F_uHXXj2sLljv5Lql3mTamZkphye_cSfqJDrX66dXlhCDobCbYX9nn-2uabeawLsT6J8SuPTv1SewF09ECJ8bzIauPBaChpQK2NoIpWURwH6xmoMVUsMru6n4jBKxmyZ6UzDX5rUw/s3349/IMG_0188.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2007" data-original-width="3349" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqfinzpqRI4jkay-8eZAGXkEE-N34-CTf6KDfDukqZGQmaZQCO1F_uHXXj2sLljv5Lql3mTamZkphye_cSfqJDrX66dXlhCDobCbYX9nn-2uabeawLsT6J8SuPTv1SewF09ECJ8bzIauPBaChpQK2NoIpWURwH6xmoMVUsMru6n4jBKxmyZ6UzDX5rUw/s320/IMG_0188.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joy Bryant (who should be in a million features) glows as vegan chef Sunday St. James. DP: Michael Dallatorre.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGgxnI-lBjj_o3o0uyU7GNicPJ0DCZjXDDXWoUffuiigPEAa8hUGLDsT1amtDqnhwAs95p-8cPUUJhLvQ3l2-4mv_QvMtn9ZfEZjS3o2VVIJCG-k5kywEPfIZH9mf_g0x55slfDz7B5cbIPFQ5K1fxv3n5QiXG0lScKEA1Ee1E0ZrI0TdfX0LhfCSxxA/s1920/IMG_0205.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGgxnI-lBjj_o3o0uyU7GNicPJ0DCZjXDDXWoUffuiigPEAa8hUGLDsT1amtDqnhwAs95p-8cPUUJhLvQ3l2-4mv_QvMtn9ZfEZjS3o2VVIJCG-k5kywEPfIZH9mf_g0x55slfDz7B5cbIPFQ5K1fxv3n5QiXG0lScKEA1Ee1E0ZrI0TdfX0LhfCSxxA/s320/IMG_0205.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The divine (and criminally underused) Henry Simmons is a solid choice for independent plumber Ellis Moran. DP: Michael Dallatorre.</td></tr></tbody></table><p>Although on the brink of divorcing Anastasia (played by the amazing Terri J. Vaughan) and raising two young daughters Everly and Bree, tall, brown, and handsome Ellis makes it real clear that there is room aplenty for Sunday, a gorgeous, statuesque beauty sporting sleek box braids and tailored chef jackets. Ellis stares at Sunday as though trapped in a hot desert and only she has the power to replenish his thirst. Even without physical touching, their alluring chemistry melts the screen— all in the twinkling eyes and luminous smiles. He believes they can start off as friends again. Yet, with chemistry that fire, a camaraderie would be difficult to sustain. There is so much history in the way their body language conveys longing and desire, especially after an intimate dance at the club. </p><p>And history always repeats. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw9DccLXqlg9oi2FCRdiQREeKkcSttKA-ojMxKIbeeQpSrWqVlO80Kr9NrNgPfB61OveymZ_Z0RzZtNcNUMTBXrvGagWlm5W9tqrJxUFHaq_95s8H7tGamiC8kEazzW3y4ka2XvmV9KwSWRjDROgUD42iy9mk4Ayz5qO4WD1k8L4ASVFpWXPHNh8jWrA/s2202/IMG_0203.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1393" data-original-width="2202" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw9DccLXqlg9oi2FCRdiQREeKkcSttKA-ojMxKIbeeQpSrWqVlO80Kr9NrNgPfB61OveymZ_Z0RzZtNcNUMTBXrvGagWlm5W9tqrJxUFHaq_95s8H7tGamiC8kEazzW3y4ka2XvmV9KwSWRjDROgUD42iy9mk4Ayz5qO4WD1k8L4ASVFpWXPHNh8jWrA/s320/IMG_0203.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ellis watches his woman depart the airport, entranced. DP: Michael Dallatorre.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIf9ai7tWteF1XORwFF85fNSAUHNhVCi_bdNw4lGkl2CL5x1vr6o3srMLZXObE46MORzNWGwTSOsvjM33JDli-C3nGQNY2n0Ye52HKI0eXfsii0I1Jn5M9cKQJSHLqEBkP0pP2LapJrDnuxGNRXl68hI6ic2guZl8Qg_Ppa_4CnqqJX_X55q-hf-WXVg/s2321/IMG_0204.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1399" data-original-width="2321" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIf9ai7tWteF1XORwFF85fNSAUHNhVCi_bdNw4lGkl2CL5x1vr6o3srMLZXObE46MORzNWGwTSOsvjM33JDli-C3nGQNY2n0Ye52HKI0eXfsii0I1Jn5M9cKQJSHLqEBkP0pP2LapJrDnuxGNRXl68hI6ic2guZl8Qg_Ppa_4CnqqJX_X55q-hf-WXVg/s320/IMG_0204.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sunday glides to her man in slow motion, captivated. DP: Michael Dallatorre.</td></tr></tbody></table><p>Sunday does have a full plate. She’s a big deal chef, coming up with incredible recipes and managing the busiest vegan spot in Atlanta. In addition to that, her father, former judge Mandeville St. James constantly forgets minor to major things and has violent outbursts that may be hinting dementia or Alzheimer’s. This puts stress on Sunday who balances between two cities, focusing on her restaurant, tending to her father’s care, and maintaining a healthy, reignited romance with Ellis. Plus Sunday can impress sweet Bree, but stubborn Everly isn’t too receptive with her father’s girlfriend.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkFbNq0kQs8_KfGM_1QLqrwIjFw0eHIu2o6_-ylj9SCKZS5ooOFRjqesFKLdv8baBe52OVFo2dhuzbhBR_VMs936bT5NdfaGvcMsfudagle0edsreYhgnmHn5Un_o09rzoTx9g8IamURp3yxLPrnfWXHdzcl9VufjGw4w4lE3eLRAvZRv6NWrycE6Utg/s3700/IMG_0186.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2032" data-original-width="3700" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkFbNq0kQs8_KfGM_1QLqrwIjFw0eHIu2o6_-ylj9SCKZS5ooOFRjqesFKLdv8baBe52OVFo2dhuzbhBR_VMs936bT5NdfaGvcMsfudagle0edsreYhgnmHn5Un_o09rzoTx9g8IamURp3yxLPrnfWXHdzcl9VufjGw4w4lE3eLRAvZRv6NWrycE6Utg/s320/IMG_0186.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Brown skin love is becoming a rarity onscreen these days so it’s a blessing to see an honest depiction with Sunday and Ellis. DP: Michael Dallatorre.</td></tr></tbody></table><p>Yet, Sunday and Ellis authentically come together, as lovers, as friends, as partners. Their scenes exhibit warm tenderness, pure joy, and all-consuming passion— often more smoldering than any contemporary romance novel in the bookstores and libraries. They exude timeless romance and sex appeal. Frequently, whether Sunday stepped out in a gorgeous number or Ellis entered a room dressed to impress, they rarely wandered to anyone else. That’s the epitome of grown up commitment— a sophisticated looking pair who do struggle to put themselves first. Anastasia and Hosea (Sunday’s ex special friend) may interfere for different reasons. At the end of the day, Ellis and Sunday want only each other. Their best moments include lunch on the grass, introductions to each other’s family and friends, cooking together, and shooting hoops outside ala Gina Prince-Blythewood’s Criterion Collection hit <i>Love & Basketball.</i></p><p>The most important part, however, is that Ellis is supportive of Sunday, not forcing her to sacrifice her restauranteur dreams and be the makeshift mother to his daughters. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmH3fhsZ2pBxKvH4FyT_63QOHFjyQOV9ryf50zbAbtxoLSUpnzjTrDj2IsE6sWsmJX46_6cLKzJNgGJUkhGUIw_uvH_GLnX4_y5qt8vkPo6T6l5O11rImAssbUNMUz8gkhhMnFForj0L1ArqMXQOIyg_FtRjfZf6dJLKuWB2vbKtLuS6XJkCSuIiisdw/s2253/IMG_0197.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1393" data-original-width="2253" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmH3fhsZ2pBxKvH4FyT_63QOHFjyQOV9ryf50zbAbtxoLSUpnzjTrDj2IsE6sWsmJX46_6cLKzJNgGJUkhGUIw_uvH_GLnX4_y5qt8vkPo6T6l5O11rImAssbUNMUz8gkhhMnFForj0L1ArqMXQOIyg_FtRjfZf6dJLKuWB2vbKtLuS6XJkCSuIiisdw/s320/IMG_0197.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sunday and Ellis at Anastasia and Danny’s wedding. DP: Michael Dallatorre.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzEAoTaS9zCl3INv9mu5TFQa77FEUpHsV97EamQG152nwdrzdyXUmmdbcIjsRlKPkRlB4cPQq1IkMveyZxXS-NPAGi16W3ygMgg9ti1IIFrUCqQg2ongmKr_aL9HPDIMn1y0zltqzrZSm99nXnoXdnXKDDTEbhvrEkOVSGj9JeTeaGqVtpENdUYs5kA/s2830/IMG_0201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1556" data-original-width="2830" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzEAoTaS9zCl3INv9mu5TFQa77FEUpHsV97EamQG152nwdrzdyXUmmdbcIjsRlKPkRlB4cPQq1IkMveyZxXS-NPAGi16W3ygMgg9ti1IIFrUCqQg2ongmKr_aL9HPDIMn1y0zltqzrZSm99nXnoXdnXKDDTEbhvrEkOVSGj9JeTeaGqVtpENdUYs5kA/s320/IMG_0201.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Their multifaceted, soul-stirring love story was better than the movies— the lighting, the acting, the music, all excellent. DP: Michael Dallatorre.</td></tr></tbody></table><p>The up and downs of their relationship are understandable too. Anastasia needed lessons in boundaries, Everly seemed more angry at Sunday than Anastasia who cheated on her father, and Sunday’s obvious shame of Ellis’s profession made a number on his pride. Let’s face it— a woman on the brink of triumphant success is not going to be proudly boasting that her man is a plumber. People are conditioned to think that means toilets are his main priority as opposed to not considering that includes pipes, sinks, and etc. He’s adept at reconstruction, turning homes into goldmines. The ending superbly highlights his underrated handyman strengths, something that would have even impressed Overton Wakefield Jones. </p><p>When Everly extended an olive branch to Sunday at Danny and Anastasia’s wedding, it showed a new, profound step in their relationship, that Everly could be open and vulnerable to a woman who shares several commonalities with her. Their conversation explores the heartbreak most girls and women go through and the strength in numbers philosophy in order to overcome it. Everly becomes what Sunday was at her age, crying over a boy. Sunday doesn’t spill the fact that Ellis did the same, instead consoling her future stepdaughter with delicacy and grace, promising her that she would not mirror Anastasia or Ellis’s behaviors. </p><p>Yet, the painful cycle of cheating closes on Sunday and Ellis who ultimately decide to forgive the past and look forward to their life together. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuUs20foUwRoam86qYiAf_DbWzTRkvl73OSBf3lR9-2fJBDuIPLpVfCJgfq399OkPBGKSf0YWEIKZBjOsfmjhpo77QVc38ZmLKxvAL0CKbV7D5O7ope86LEJAb9aAZcubtQSeqsq90OSXzHNFj4ffYCn0yar_RLMeYm-rn4j7u_xLgacmSSeg2CiNEMg/s1620/26A38082-F849-42D9-A6B4-9A05DBCC3DEB.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1264" data-original-width="1620" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuUs20foUwRoam86qYiAf_DbWzTRkvl73OSBf3lR9-2fJBDuIPLpVfCJgfq399OkPBGKSf0YWEIKZBjOsfmjhpo77QVc38ZmLKxvAL0CKbV7D5O7ope86LEJAb9aAZcubtQSeqsq90OSXzHNFj4ffYCn0yar_RLMeYm-rn4j7u_xLgacmSSeg2CiNEMg/s320/26A38082-F849-42D9-A6B4-9A05DBCC3DEB.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mrs. Luma Lee Langston (Cicely Tyson) at top, DP: Eduardo Enrique Mayen and former Judge Mandeville James (Richard Roundtree) on the bottom, DP: Michael Dallatorre. Rest in power to both of these great heavyweights.</td></tr></tbody></table><p><i>Cherish the Day</i> performs double duty activism, utilizing an all-female directing crew as in <i>Queen Sugar</i> including Angel Kristi Williams (<i><a href="http://femfilmrogues.blogspot.com/2022/01/the-black-visual-artist-journeys-in.html" target="_blank">Really Love</a></i>) and Tchaiko Omawale (<i><a href="http://femfilmrogues.blogspot.com/2022/03/solace-courageously-examines-quiet.html" target="_blank">Solace</a></i>). Casting classic, nostalgic actors gives them flowers, that though in prime they still have good work to accomplish for new audiences. The first season featured the late Oscar honored Cicely Tyson in fine form as the sassy Mrs. Luma Lee Langston. In the second season, <i>Shaft</i>’s Richard Roundtree plays former judge Mandeville, a widowed father to Sunday who happens to be suffering from the ailments of old age. If there happens to be more anthologies, might we suggest Margaret Avery, Garrett Morris, Jo Marie Payton, Charlayne Woodard, Carl Lumbly, or Danny Glover. </p><p>Furthermore, Michael Dallatorre’s cinematography aligns with the thoughtful music selection, another key example hailing off <i>Queen Sugar</i>’s independent vibes. Sade’s brilliant song sets the theme as each episode focuses on a single day. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNS7x6HlmX8N7p4f77spjNHlmxUCbLbqNnX8e47l3BH7KPkqzJAss8kz8lH1hBif8hlu5k4O41wxgtWJoWab0X812HE942boOu2L2XI9v42aKg9XdaZuI9mvjHA7WUPamnHjK4Z-KEs1-z9JexAL_7BnDB0Yv4y_xoAEa4WtO5GOAdUjupRwlSvHePQ/s3010/IMG_0190.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1712" data-original-width="3010" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNS7x6HlmX8N7p4f77spjNHlmxUCbLbqNnX8e47l3BH7KPkqzJAss8kz8lH1hBif8hlu5k4O41wxgtWJoWab0X812HE942boOu2L2XI9v42aKg9XdaZuI9mvjHA7WUPamnHjK4Z-KEs1-z9JexAL_7BnDB0Yv4y_xoAEa4WtO5GOAdUjupRwlSvHePQ/s320/IMG_0190.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Illustration by Jasper Yu.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNLs-rzm0uSGEt4YwVtX4DQWMbrqaOVB_AJ4cYoXJXtZqN2H28Sp7NoJsgbVrriEXSABZx8VM2CAFMuNwlW3NzwPYgiOQgJCKvW2kS0RXCpA1KjjQzkINTeG8IncrgtTHZfvgzfgXfgu2hC94gbZeTqFrWZ9U9UJ6sZrMbC0mbQGb-VgrOe8pQ4kD6A/s2798/IMG_0191.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1535" data-original-width="2798" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNLs-rzm0uSGEt4YwVtX4DQWMbrqaOVB_AJ4cYoXJXtZqN2H28Sp7NoJsgbVrriEXSABZx8VM2CAFMuNwlW3NzwPYgiOQgJCKvW2kS0RXCpA1KjjQzkINTeG8IncrgtTHZfvgzfgXfgu2hC94gbZeTqFrWZ9U9UJ6sZrMbC0mbQGb-VgrOe8pQ4kD6A/s320/IMG_0191.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Illustration by Jasper Yu.</td></tr></tbody></table><p>Overall, Sunday and Ellis’s incredible coupledom wouldn’t be complete without the charisma Joy Bryant and Henry Simmons brought to the table. They were beautiful and authentic, just believably present in a Black contemporary love story sans the typical struggle. </p><p>So, <i>Cherish the Day</i> season two comes highly recommended and well worth the two dollars per episode. </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-53282135089109022332024-01-28T00:48:00.000-08:002024-01-28T02:50:22.383-08:00Emmys, Oscars, & Other Wins/Snubs<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsCilBpm_y1_bTZFXqdTHKJglx7PHncwJ_hyphenhyphene5jNEhd5pV3jwc547yvmaeuyos8WEwoTbz2NIT_7V3BITXw7ywrQze1CY3vuEvam2DjKs8CmUCx55ItfKOyXSPJAu7627GrS56k2nkFXR5GtslfGaW7oUaKwJWy6H9Bebw8EvSXxxUzrX0SlDJpnPb5A/s600/IMG_0180.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="417" data-original-width="600" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsCilBpm_y1_bTZFXqdTHKJglx7PHncwJ_hyphenhyphene5jNEhd5pV3jwc547yvmaeuyos8WEwoTbz2NIT_7V3BITXw7ywrQze1CY3vuEvam2DjKs8CmUCx55ItfKOyXSPJAu7627GrS56k2nkFXR5GtslfGaW7oUaKwJWy6H9Bebw8EvSXxxUzrX0SlDJpnPb5A/s320/IMG_0180.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Quinta Brunson made Emmy history, winning Outstanding Lead Actress in a Comedy series for playing Janine Teagues— a character she created. This is her second Emmy after winning for Outstanding Writing in a Comedy Series, 2022. </td></tr></tbody></table><p>Eight years ago, I penned <a href="http://femfilmrogues.blogspot.com/2016/09/66-years-of-funny-white-women-in-lead.html?m=0" target="_blank">Sixty-Seven Years of White Women in the Lead</a>. This essay reflected on the Emmys historical preference of rewarding the same actresses over and over again in the Outstanding Lead Actress in a Comedy Series category, leaving Black and other women of color nominees as their presenters. At the time, Isabel Sanford and America Ferrera were the only nonwhite winners. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5AxXETPCTLXmz8spB3cEdyAl5gu8yGHk3-wUlbkq0jNq5vbF5m2OcOU0jYwXc5-XdmfmpISI2rgEAS23JJSrmm_zl3xXjo9Fw0GiVi6EIHJnLW2s7UtTx0GNwAPMdZLWqYL89Aqy0TSypWb0afLaYAsnDnWjOXIu0OLUavmYmxC9gS79HjsSuHf4DIA/s743/IMG_0181.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="743" data-original-width="521" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5AxXETPCTLXmz8spB3cEdyAl5gu8yGHk3-wUlbkq0jNq5vbF5m2OcOU0jYwXc5-XdmfmpISI2rgEAS23JJSrmm_zl3xXjo9Fw0GiVi6EIHJnLW2s7UtTx0GNwAPMdZLWqYL89Aqy0TSypWb0afLaYAsnDnWjOXIu0OLUavmYmxC9gS79HjsSuHf4DIA/s320/IMG_0181.jpeg" width="224" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Legendary actress Marla Gibbs and Quinta Brunson present Niecy Nash with her first Emmy win. </td></tr></tbody></table><p>Yet, the seventy-fifth Primetime Emmy awards (held on Martin Luther King Jr. Day and helmed by Black producers) promoted real change. <i>Abbott Elementary</i>’s Quinta Brunson finally won the coveted prize— forty-two years after Sanford, seventeen years after Ferrera. Other feats included Ayo Edebiri, Outstanding Supporting Actress in a Comedy Series for <i>The Bear </i>(who will be competing as lead next ceremony) and Niecy Nash, Outstanding Supporting Actress in a Limited Series for <i>Monster: The Jeffrey Dahmer Story</i>. Although former favorite actor Steven Yeun (and Ali Wong) also made history as the first Asians to win in their respective categories for the <i>Beef</i> miniseries, their terrible joint statement on the <a href="https://www.latimes.com/entertainment-arts/tv/story/2023-04-19/david-choe-beef-controversy-timeline-explainer-rape-comments" target="_blank">David Choe</a> controversy has left little favor. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2r2uN5ZAZSgwF1w-vMtqyR5gXWIfyH3nJ5KSKsT75jzUMuXJaaQBSehZIDkwm0XskVZ_ji1AZZc4Sth6hWUQfW8MiSNdgh_2JEar2rAGIdlforsbmdTSIC72JFkaZSTKjwg0xhxfcFrlaWVyTKbXtllTfKLlYwW3cqDyqQ6855Sn9On72Z2ADW_xIIA/s750/IMG_0182.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="590" data-original-width="750" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2r2uN5ZAZSgwF1w-vMtqyR5gXWIfyH3nJ5KSKsT75jzUMuXJaaQBSehZIDkwm0XskVZ_ji1AZZc4Sth6hWUQfW8MiSNdgh_2JEar2rAGIdlforsbmdTSIC72JFkaZSTKjwg0xhxfcFrlaWVyTKbXtllTfKLlYwW3cqDyqQ6855Sn9On72Z2ADW_xIIA/s320/IMG_0182.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Three women of color acting nominees— America Ferrera, Danielle Brooks, and Da’Vine Joy Randolph.</td></tr></tbody></table><p>Unfortunately, it might take the Oscars another hundred years to catch up to what the Emmys did. There were only two Black women nominated for the ninety-sixth annual ceremony, both in the same category for Best Supporting Actress. Black/biracial women filmmakers were not supported despite wins at Sundance Film Festival and the Gotham Awards (the best awards voters after the Independent Spirit Awards).</p><blockquote> “It can be very disheartening and draining because it’s like we’re not even given a shot,” A. V. Rockwell said of the film (via <a href="https://www.vanityfair.com/hollywood/awards-insider-a-thousand-and-one-av-rockwell-teyana-taylor">Vanity Fair</a>), which has failed to generate buzz in recent months despite winning Sundance’s prestigious Grand Jury Prize. “Even with all the love that’s out there, I think people are kind of set in only certain movies, or only certain filmmakers, getting a chance to be a part of certain conversations.”</blockquote><p>Yet, instead of solidarity for the true snubs: unrecognized filmmakers A. V. Rockwell, Ava DuVernay, Savannah Leaf or actors Fantasia Barrino, Teyana Taylor, Greta Lee, Teo Yoo, Will Catlett, or even Vivian Oparah (who scored a surprising BAFTA nomination for a romantic comedy when we know how they feel about the genre)— white women are collectively whining about Greta Gerwig and Margot Robbie. As <i>Barbie</i> producers Gerwig and Robbie are nominated, Gerwig receiving an additional one for Best Screenplay with her husband Noah Baumbach. The only women of color filmmaker Oscar nominee writer/director Celine Song has one nomination for <i>Past Lives</i>. </p><p>Whereas 2022 gave us strong performances in Danielle Deadwyler, Janelle Monae, Michelle Yeoh, Viola Davis, Tang Wei, Lashana Lynch, Angela Bassett, Stephanie Hsu— only three made it to the Oscars, one won. The <a href="http://femfilmrogues.blogspot.com/2023/01/the-problematic-andrea-riseborough-fray.html" target="_blank">Andrea Riseborough</a> backlash (and nominating other mediocre actresses) as well as the problematic criticism from anonymous voters ruined its integrity. Meanwhile, the whole 2023 awards season has become tainted by the <i>Barbie</i> versus <i>Oppenheimer</i> film rivalry, poisoning the eighty percent of white voters who more than likely are going to give Ken— Best Original Song. This kind of media frenzy ensured that people of color films would become lost in the vacuum. They do not even support women of color to direct their characters, that’s how apparent these sexist nominations are. </p><p><a href="https://www.vanityfair.com/hollywood/colman-domingo-and-ava-duvernay-on-origin-rustin-awards-insider" target="_blank">Ava DuVernay</a> expressed sentiments that mirrored Gina Prince-Blythewood’s <a href="https://www.hollywoodreporter.com/movies/movie-features/gina-prince-bythewood-oscars-shutout-the-woman-king-1235319026/" target="_blank">remarks</a>: </p><blockquote> “[It’s] unfortunate because we (Black people) watch films from all over the world that have nothing to do with me, and we watch it because we don’t have to be centered, we are used to that because we are so often not centered. I don’t want this to be misconstrued—I’m just saying certain people need a certain kind of invitation, and those of us who are perhaps used to not being centered don’t need that invitation or else we wouldn’t be watching anything.”</blockquote><p>To the foolish protesters centering two white women who actually have Oscar nominations for their white feminism film (just not in ALL the categories)— y’all are, once again, banding together for the wrong thing. Until we see certain actresses on the streets handing out “for your consideration” fliers like Aunjanue Ellis-Taylor did, Hollywood remains disrespecting Black women. </p><p>Thus, 2024 promises an ongoing continuation of #OscarsSoWhite. </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-4734077674594737322024-01-01T14:43:00.000-08:002024-01-01T14:59:43.666-08:00Best Feature Length & Short Films of 2023<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYwL5Uy4B40fg9rBIjF03Aj8d3repej0IrYmo8r1DQATSYKISz-Ezz7pnd413HRUka9EBONkTas0gAlRDVJdNnn3emxYmc1HGD4Jpm_hDgk7GtVnyuAU3mAJSAUYKNodqLkXKB1DMohBXkWOaBlJfkPEMoWkjDvpeqxy8Cb3rAuWrbO6Fzl29Sbfmfw/s1298/75F8C7A7-1AAC-48C4-BCE4-0C62AEDE3C33.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1298" data-original-width="1036" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYwL5Uy4B40fg9rBIjF03Aj8d3repej0IrYmo8r1DQATSYKISz-Ezz7pnd413HRUka9EBONkTas0gAlRDVJdNnn3emxYmc1HGD4Jpm_hDgk7GtVnyuAU3mAJSAUYKNodqLkXKB1DMohBXkWOaBlJfkPEMoWkjDvpeqxy8Cb3rAuWrbO6Fzl29Sbfmfw/s320/75F8C7A7-1AAC-48C4-BCE4-0C62AEDE3C33.jpeg" width="255" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Best Films of 2023 <a href="https://boxd.it/r8Tts" target="_blank">Letterboxd</a>.</td></tr></tbody></table><p>Although some of my favorite films were out before 2023, their accessibility wasn’t available at the time. Several, I saw in New York City (<i>Saint Omer</i> and <i>Cette Maison</i>), London (<i>Return To Seoul</i> and <i>Pretty Red Dress</i>), or even on a flight (<i>The Unknown Country</i> which Lily Gladstone received a much deserved Gotham Award for). Often, I believe there are sad reasons for that— mainly money, distribution, and lack of genuine support. Still, I was happy to see eight of my twenty chosen on the big screen and the rest on streaming platforms. Women and people of color filmmakers truly crafted heart moving gems, most lingering in my mind long after the credits rolled. That’s such a profound responsibility— making a cinematic art intended to emotionally rattle or stir the individual. </p><p>Year after year, we witness their intense labor behind the scenes (last summer’s writers and actors strike revealed a shockingly appalling perspective on just how bad it was), then shifting release dates whether in a theater or not, and lists/awards/honors that continues celebrating the same over-celebrated individuals. Yet, the most important thing to a creator is having their work SEEN— the hardest task in Hollywood, which cruelly enough continues to either delete films/series off streaming service, limit distribution, or keep works forever vaulted. </p><p>Thus, with these twenty— an intriguing mix of 2023 narrative, short film, and documentary releases— you see an engaging collective expressing effective honesty, jarring intimacy, and beautiful storytelling. </p><p>Best Films of 2023</p><p>1.) “<a href="http://femfilmrogues.blogspot.com/" target="_blank">Saint Omer</a>” directed by Alice Diop and written by Diop, Marie N’diaye, and Amrita David</p><p>2.) “<a href="http://femfilmrogues.blogspot.com/2023/04/a-thousand-and-one-breaking-down-its.html" target="_blank">A Thousand And One</a>” directed and written by A. V. Rockwell</p><p>3.) “<a href="http://femfilmrogues.blogspot.com/2023/04/a-thousand-and-one-breaking-down-its.html" target="_blank">Earth Mama</a>” directed and written by Savanah Leaf</p><p>4.) “<a href="http://femfilmrogues.blogspot.com/2023/02/cette-maison-poignant-testament-to-grief.html" target="_blank">Cette Maison</a>” directed and written by Miriam Charles </p><p>5.) “Rye Lane” directed by Raine Allen-Miller and written by Nathan Bryon and Tom Melia </p><p>6.) “Our Father, The Devil” directed and written by Ellie Foumbi </p><p>7.) “Aloners” directed, written, and edited by Hong Sung-eun</p><p>8.) “Past Lives” directed and written by Celine Song </p><p>9.) “Return To Seoul” directed and written by Davy Chou</p><p>10.) “The Boy and the Heron” directed and written by Hayao Miyazaki</p><p>11.) “Conversations With Ruth de Souza” directed by Juliana Vicente</p>12.) “Space Race” directed by Diego Hurtado de Mendoza and Lisa Cortés and written by Mark Monroe<br /><br />13.) “Gaps” directed and written by Jenn Shaw<br /><br />14.) “The Blue Caftan” directed by Maryam Touzani and written by Touzani and Nabil Ayouch<br /><br />15.) “Pretty Red Dress” directed and written by Dionne Edwards<br /><br />16.) “Polite Society” directed and written by Nida Manzoor<br /><br />17.) “Hawa” directed by Maïmouna Doucouré and written by Doucouré, Alain-Michel Blanc, Zangro, and David Elkaim <br /><br />18.) “Mirasol” directed and written by Annalise Lockhart <br /><br />19.) “ Sèt Lam” directed and written by Vincent Fontano<br /><br />20.) “The Unknown Country” directed and written by Morissa Maltz Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-86898698100481404822023-12-31T04:52:00.000-08:002023-12-31T21:06:19.645-08:00December 2023 Film Watches<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid_M-Qx6Z1SoVJa1rLC_7SjNtdcUVN0rplyc8EHcOne0dLP35qwFo3v5oHiLI5rz6Y0rRnG2O_kOwMrODfr9Ds2_j7VI6kr3NEdW52OVyTfASnqPVZih5LhfY1c2LWy1cGvsou-CiMbcyKiXafpe4vpgBuEeCLgtbwPA-FsXMN_fCfeqbdXMUjvB6c8w/s959/IMG_0012.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="959" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid_M-Qx6Z1SoVJa1rLC_7SjNtdcUVN0rplyc8EHcOne0dLP35qwFo3v5oHiLI5rz6Y0rRnG2O_kOwMrODfr9Ds2_j7VI6kr3NEdW52OVyTfASnqPVZih5LhfY1c2LWy1cGvsou-CiMbcyKiXafpe4vpgBuEeCLgtbwPA-FsXMN_fCfeqbdXMUjvB6c8w/s320/IMG_0012.jpeg" width="250" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maggie Cheung in Olivier Assayas’s 1996 French-American film <i>Irma Vep</i>. </td></tr></tbody></table><br /><div>During this final month of 2023, I was fully committed to watching films by voices unfamiliar to me in addition to holiday classics, reserving the usual <i>Harry Potter</i> and <i>Home Alone</i> marathons for January. Yet, surprisingly a few new Christmas films weren’t half bad. <br />Again, Issa Rae’s Hoorae YouTube channel was an ample resource and starting point to my journey, the discovery of Bethiael Alemayoh aka B. B. Araya being a favorite. Definitely plan to write a story on her work. Currently, she debuted a new short film, <i><a href="https://www.bethiaelalemayoh.com/dressed" target="_blank">Dressed</a></i> at SXSW. The premise is a “former bride-to-be attempts to sell her wedding dress.” <br />I fell in love with great world cinema such as Lemohang Jeremiah Mosese’s <i>This Is Not A Burial, This Is A Resurrection</i>, Olivier Assayas’s <i>Irma Vep</i>, Maryam Touzani‘s <i>The Blue Caftan</i> and <i>Adam</i> respectively, and Leyla Bouvid’s <i>A Tale of Love and Desire</i>. Plus, I revisited old Hayao Miyazaki’s <i>Spirited Away</i>, weeks after seeing his newest beautiful work, <i>The Boy and The Heron, </i>a must see.<br />Coincidentally, I ended my film list with Adamma Ebo’s <i>Honk For Jesus. Save Your Soul</i>— a short version of the film I watched back in January. <br /><br />December Film Watches<br /><br />1.) “The Golden Chain” (2016) Adebukola Bodunrin and Ezra Claytan Daniels #*+ 9/10<br /><br />2.) “Sweet Ruin” (2008) Elisabeth Subrin #* 7/10<br /><br />3.) “T” (2019) Keisha Rae Witherspoon #*+ 8.5/10<br /><br />4.) “The Blackening” (2023) Tim Story #^ 7/10<br /><br />5.) “Christmas With A Kiss” (2023) Roger M. Bobb #^ 6.5/10<br /><br />6.) “Secret Sunshine” (2010) Lee Chang-dong #^ 6.8/10<br /><br />7.) “Tony Takitani” (2000) Jun Ichikawa #^ 6.8/10 <br /><br />8.) “Vertigo” (1958) Alfred Hitchcock # 7/10<br /><br />9.) “An Unknown Country” (2022) Morrisa Maltz #* 9/10<br /><br />10.) “Real Women Have Curves” (2002) Patricia Cardoso *^ 10/10<br /><br />11.) “<a href="http://femfilmrogues.blogspot.com/2023/12/earth-mama-pushes-desperate-mother-into.html" target="_blank">Earth Mama</a>” (2022) Savannah Leaf #*^ 9.5/10<br /><br />12.) “Broadcast Signal Intrusion” (2021) Jacob Gentry # 4/10<br /><br />13.) “The Blue Caftan” (2022) Maryam Touzani #*^ 9/10<br /><br />14.) “Dress For Success” (2023) Erskine Forde #^ 8/10<br /><br />15.) “Adam” (2019) Maryam Touzani #*^ 9.5/10<br /><br />16.) ”A Tale of Love and Desire” (2021) Leyla Bouzid #*^ 9.5/10<br /><br />17.) “The Boy and the Heron” (2023) Hayao Miyazaki #^ 9.5/10<br /><br />18.) ”Christmas Belles” (2019) Terri J. Vaughan #*+ 4.7/10<br /><br />19.) “Christmas Deja Vu” (2021) Christel Gibson #*+ 5.5/10<br /><br />20.) ”You Hurt My Feelings” (2023) Nicole Holofcener #* 5/10<br /><br />21.) “This is not a Burial, it’s a Resurrection” (2019) Lemohang Jeremiah Mosese #^ 10/10 <br /><br />22.) ”Tomorrow Never Dies” (1997) Roger Spottiswoode # 5.4/10 <br /><br />23.) “Hot Girl Winter” (2023) Patricia Cuffie-Jones #*+ 6.8/10 <br /><br />24.) “The Chef’s Wife” (2014) Anne Le Ny #* 6/10<br /><br />25.) “<a href="http://femfilmrogues.blogspot.com/2022/01/boxing-day-highlights-several-films.html" target="_blank">Boxing Day</a>” (2021) Aml Ameen ^ 7.7/10<br /><br />26.) ”A Charlie Brown Christmas” (1965) Bill Melendez 8/10<br /><br />27.) “Rudolph The Red Nosed Reindeer” (1964) Larry Roemer and Kizo Nagashima 7/10 <br /><br />28.) “Garfield Christmas Special” (1987) Phil Roman and George Singer 7.7/10<br /><br />29.) “Entre Nous” (1983) Diane Furys #* 8.5/10<br /><br />30.) “Bridget Jones’s Diary” (2001) Sharon Maguire * 6.5/10<br /><br />31.) “My One Christmas Wish” (2019) James Head # 7.5/10<br /><br />32.) “Clockwatchers” (1997) Jill Sprecher #* 6.7/10<br /><br />33.) “The Baker’s Wife” (1938) Marcel Pagnol # 0/10<br /><br />34.) “<a href="http://femfilmrogues.blogspot.com/2019/09/down-in-delta-is-heirloom-worth.html" target="_blank">Down in the Delta</a>” (1998) Maya Angelou *+ 9.5/10<br /><br />35.) “Irma Vep” (1996) Olivier Assayas # 9/10<br /><br />36.) “Ovals: I Don’t Want To Love Myself” (2016) Daquan Saxton #^ 7.8/10<br /><br />37.) “Gentle Boy” (2023) Caleb Grandoit #^ 9/10<br /><br />38.) “Solely” (2013) Anna Nersesyan #* 9.5/10<br /><br />39.) “Dating App” (2019) Maya Table #*+ 9/10<br /><br />40.) “Beta” (2016) B. B. Araya #*+ 10/10<br /><br />41.) “Detour” (2018) Daniel Norris Webb # 4/10<br /><br />42.) “bad news” (2020) Bethiael Alemoyah #*+ 10/10<br /><br />43.) “yirga” (2019) Bethiael Alemoyah #*+ 10/10<br /><br />44.) “Spirited Away” (2009) Hayao Miyazaki ^ 10/10 <br /><br />45.) “Good Morning” Yasujirō Ozu #^ 10/10<br /><br />46.) “Poetry” (2010) Lee Chang-dong #^ 8.9/10<br /><br />47.) “Happy New Year’s Eve, Charlie Brown” (1986) Bill Melendez 5.6/10<br /><br />48.) “Hair Love” (2019) Matthew Cherry and Bruce W. Smith #^ 8/10<br /><br />49.) “Honk For Jesus. Save Your Soul” (2019) Adamma Ebo #*+ 7.7/10<br /><br /><br /># first time watch<br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />^nonwhite filmmaker <br /><br />Other notes: list of 49 films, 40 first time watches, 30 films directed/written by nonwhite filmmakers, and 24 films made by women.<br /><br />Yearly total: 358 films, seven short of my goal of watching 365; 304 first time watches, 260 films directed/written by nonwhite filmmakers, and 172 films made and/or co-made by women. </div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-81037016411724901122023-12-29T04:51:00.000-08:002023-12-30T23:58:31.893-08:00November 2023 Film Watches <p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcJRnNVUq8MvQgUyZc4Bk1Q0Gj1iqBjo6u9IdIrAVXO0fq0T-a0CwLijAP7w-oMH7VctTSrsvsH0KqsfUbp4Bm8t0eVPH7CWFBh8n8DVCOXSGSIC3h4bizVs29cJkhiIo3OoZwawM51xEqPKzwhEDpdNwhbFbLXMamwg1IJfz0Qt-wSlFlssOa_chJBQ/s584/IMG_0013.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="313" data-original-width="584" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcJRnNVUq8MvQgUyZc4Bk1Q0Gj1iqBjo6u9IdIrAVXO0fq0T-a0CwLijAP7w-oMH7VctTSrsvsH0KqsfUbp4Bm8t0eVPH7CWFBh8n8DVCOXSGSIC3h4bizVs29cJkhiIo3OoZwawM51xEqPKzwhEDpdNwhbFbLXMamwg1IJfz0Qt-wSlFlssOa_chJBQ/s320/IMG_0013.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Starring Rutina Wesley and LeBaron Foster Thornton, Cierra Glaude’s powerful short film <i>Last Looks</i> was written by Nicholas Ashe, Wesley’s <i>Queen Sugar</i> co-star.</td></tr></tbody></table></p><p>As the sky darkens early in November, my lazier habits come out to play. Although I did not see a single film in the theaters, I checked out several DVDs from my local library aka the last of our human renting experience. </p><p>However, looking back, this wasn’t my favorite film listings of the year, considering the shamefully bad choices made here, primarily a lack of women filmmakers. Not my proudest month despite some great women starring vehicles (Wayne Wang’s <i>dim sum: a little bit of heart</i> remains a treat). Also found a few rare pieces starring one of my favorite actresses Emayatzy Corinealdi. </p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">November Film Watches <br /><br />1.) “Kids” (2013) A. V. Rockwell #*+ 8.5/10<br /><br />2.) “The Dreamer” (2012) A. V. Rockwell #*+ 9/10<br /><br />3.) “B. L. B.” (2014)<span style="font-family: UICTFontTextStyleBody; font-size: 17px;"> </span>A. V. Rockwell #*+ 9/10<br /><br />4.) “The Kingsman Secret Service” (2017) Matthew Vaughan # 6.5/10<br /><br />5.) “The Menu” Mark Mylod # 8/10 <br /><br />6.) “Last Looks” (2017) Cierra Glaude #*^ 10/10<br /><br />7.) “I Knew Her Well” (1965) Antonio Pietrangeli # 10/10 <br /><br />8.) “dim sum: a little bit of heart” (1985) Wayne Wang ^ 10/10 </p><br />9.) “Floating Weeds” (1959) Yasujirō Ozu #^ 10/10<br /><br />10.) “Howling” (2012) Yoo Ha #^ 3/10<br /><br />11.) “Drive My Car” (2021) Ryusuke Hamaguchi #^ 9/10<br /><br />12.) “Parasite” (2019) Bong Joon-ho ^ 10/10<br /><br />13.) “Teacher in the Box” (2014) Tanuj Chopra #^ 10/10 <br /><br />14.) “Clap Clap” (2009) Tanuj Chopra #^ 7/10 <br /><br />15.) “Akira’s Hip Hop Shop” (2007) Joseph Doughrity #^ 8/10<br /><br />16.) “Cordially Invited” (2007) Nicholas Stoller # 5/10<p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><br />17.) “Addicted” (2014) Bille Woodruff #^ 2/10 <br /><br />18.) “The Silent Treatment” (2012) Martine Jean #*+ 10/10 <br /><br />19.) “Crimson Peak” (2015) Guillermo del Toro # 5.5/10<br /><br />20.) “A Nightmare On Elm Street 2: Freddy’s Revenge” (1985) Jack Sholder 2/10<br /><br />21.) “Love, Beats, Rhymes” (2017) RZA #^ 7.7/10 <br /><br />22.) “My Salinger Year” (2020) Philippe Falardeau # 6/10 <br /><br />23.) “M3GAN” (2023) Gerard Johnstone # 6/10<br /><br />24.) “Simple Passion” (2020) Danielle Arbid #* 4/10 <br /><br />25.) “Last Christmas” (2019) Paul Feig # 4/10<br /><br />26.) “Wise Blood” (1979) John Huston # 2/10</p><div><br /></div><br /># first time watch <br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker<div> <br /><div class="post-body entry-content" id="post-body-5209957604693437426" itemprop="articleBody" style="-webkit-text-size-adjust: auto; line-height: 1.3; position: relative; width: 355px;"><span style="font-size: 15.84px;">*</span>^ nonwhite woman filmmaker <br /><br />^nonwhite filmmaker <br /><br />Other notes: list of 26 films: 23 first time watches, 15 films directed/written by nonwhite filmmakers, and 6 films made and/or co-made by women.</div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-52099576046934374262023-12-28T04:50:00.000-08:002023-12-30T23:25:10.960-08:00October 2023 Film Watches<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfz19g3QSXpOc30xX9_f8nRvBs-1D6R4ejyNCzpOwdWkqGWWp_OhlpemWWA9AilUgKNa4Ymqo66wPVXgAxlZZ1DQy37QXYPyqq8XuFpRC7zFh1e0yG53uwJ7noPolSX53GTjppa3LQ9On0DGM9cxLkC5VAAj93z5wXXtGiqjU0XSmjv1Zx21hyphenhyphenuNYdw/s1500/08AB8F2C-4A55-4E0D-B546-CDCA4C21A463.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfz19g3QSXpOc30xX9_f8nRvBs-1D6R4ejyNCzpOwdWkqGWWp_OhlpemWWA9AilUgKNa4Ymqo66wPVXgAxlZZ1DQy37QXYPyqq8XuFpRC7zFh1e0yG53uwJ7noPolSX53GTjppa3LQ9On0DGM9cxLkC5VAAj93z5wXXtGiqjU0XSmjv1Zx21hyphenhyphenuNYdw/s320/08AB8F2C-4A55-4E0D-B546-CDCA4C21A463.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kerry Washington as Niecy in <i>Lift</i>. DP: David Phillips.</td></tr></tbody></table></p><p>We’re at my favorite month of the year— birthday times, cozy sweaters, and nothing but warm beverages and scary films, well, sometimes. I started off watching a hip hop classic before it left the Criterion Channel, ending it the same way with A. V. Rockwell’s dearly departing gritty New York City short films. Good things come and go and it’s best to get it in while you can. I also free trialed MUBI again, but only had time for three films. Two contained absolutely horrendous depictions of young women preyed by older men (James Ivory’s <i>Quartet</i> and Alberto Lattuada’s <i>Stay As You Are</i>) while the other— Kit Zauhar’s <i>actual people</i>— almost had a place on my top films of 2023 list. Overall, I enjoyed most of the short films seen on the HOORAE channel, especially Steven Caple Jr.’s <i>A Different Tree</i>, Winter Dunn’s <i>Junebug</i>, and B. B. Araya’s <i>We Are</i> series. Excellent stuff. </p><br />October Film Watches<br /><br /><br />1.) “Beat Street” (1984) Stan Lathan #^ 7/10<br /><br />2.) “Krush Grove” (1985) Michael Schultz #^ 6.8/10<br /><br />3.) “Knock At The Cabin” (2023) M. Night Shyamalan #^ 2/10<br /><br />4.) “Stella With The Weight Of The World On Her Shoulders” (2015) Christopher Cole # 8/10 <br /><br />5.) “How To Win” (2016) Rhasaan Nichols #^ 5/10<br /><br />6.) “The Canterville Ghost” (1996) Sid Macartney # 6.8/10 <br /><br />7.) “Lift” (2001) Demane Davis and Khari Streeter #*+ 8/10<br /><br />8.) “We Are— Sisters” (2017) B. B. Araya #*+ 9.5/10 <div><br />9.) “The Halloween Tree” (1993) Mario Piluso 8/10<br /><br />10.) “actual people” (2023) Kit Zauhar #*^ 9/10<br /><br />11.) “Junebug” (2020) Winter Dunn #*+ 10/10<br /><br />12.) “We Are— Friends” (2017) B.B. Araya #*+ 8.5/10 <br /><br />13.) “Quartet” (1981) James Ivory # 1/10<br /><br />14.) “Stay As You Are” (1978) Alberto Lattuada # 0.5/10<br /><br />15.) “Room Tone” (2018) Morgan Cooper #^ 8/10<br /><br />16.) “Sunshine Cleaning” (2008) Christine Jeffs #* 6.8/10<br /><br />17.) “Our Father, The Devil” (2021) Ellie Foumbi #*+ 8.5/10<br /><br />18.) “Lavender” (2017) Ed Gass-Donnelly # 4/10 <br /><br />19.) “Kiki’s Delivery Service” (1989) Hayao Miyazaki ^ 10/10<br /><br />20.) “Ladylike” (2014) Tiffany Johnson #*+ 10/10<br /><br />21.) “If Beale Street Could Talk” (2019) Barry Jenkins ^ 10/10<br /><br />22.) “Medicine For Melancholy” (2008) Barry Jenkins #^ 7/10<br /><br />23.) “The Resort” (2015) Shadae Lamar Smith #^ 8/10<br /><br />24.) “Nightmare Before Christmas” (1993) Henry Selick 8/10 <br /><br />25.) “dawn.” (2016) Ya’ke Smith #^ 10/10 <br /><br />26.) “The Legend Of Sleepy Hollow” (1949) Clyde Geronimi and Jack Kinney 6/10<br /><br />27.) “Hocus Pocus” (1993) Kenny Ortega 7/10<br /><br />28.) “Simply Irresistible” (1999) Mark Torlov 6/10<br /><br />29.) “Too Much Cendi (Skit)” (2013) A. V. Rockwell #*+ 9/10<br /><br />30.) “Indigo’s Smile (Interlude)” (2014) A. V. Rockwell #*+ 10/10<br /><br />31.) “Trey (Interlude)” (2012) A. V. Rockwell #*+ 9.5/10<br /><br />32.) “Heist” (2012) A. V. Rockwell #*+ 8.5/10<br /><br />33.) “El Train” (2014) A. V. Rockwell #*+ 10/10<br /><br />34.) “A City Of Children” (2014) A. V. Rockwell #*+ 8/10<br /><br />35.) “G. F. C.” (2013) A. V. Rockwell #*+ 8/10</div><div><br /></div><div>36.) “A Different Tree” (2013) Steven Caple Jr. #^ 10/10</div><div><br /></div><div><br /></div># first time watch <br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />*^ nonwhite woman filmmaker <br /><br />^nonwhite filmmaker <br /><br />Other notes: list of 35 films: 29 first time watches, 25 films directed/written by nonwhite filmmakers, and 16 films made and/or co-made by women.Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-82317106435813896932023-12-27T04:50:00.000-08:002023-12-30T23:24:51.120-08:00September 2023 Film Watches<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-bU-mKw-HYRGzrnh0s2Sypko27VqqUu2Ty47-WuYdjjIocWVaI0tM0vVtKGx166UKse2zVipY_T_NU-x9KRDZ3wOyAQXPYMB4JDp19xopSG0nMeEQAXlEhdjrbU4H4NdcXQNISvqqLOlAS_dMMl67cHyC98F2I-squrfaQ_MfKvPuaogXy35ki7umHQ/s600/45048C24-78E1-4E2A-B624-8F785471968D.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-bU-mKw-HYRGzrnh0s2Sypko27VqqUu2Ty47-WuYdjjIocWVaI0tM0vVtKGx166UKse2zVipY_T_NU-x9KRDZ3wOyAQXPYMB4JDp19xopSG0nMeEQAXlEhdjrbU4H4NdcXQNISvqqLOlAS_dMMl67cHyC98F2I-squrfaQ_MfKvPuaogXy35ki7umHQ/s320/45048C24-78E1-4E2A-B624-8F785471968D.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Patrice (Maxine Turenne) and Laura’s (Laura Guzman) friendship face the ultimate adolescent test in Stefani Saintouge’s <i>Seventh Grade</i>. DP: Brian Diggs.</td></tr></tbody></table></p><p>Autumn meant comfort cinema over hot soups, hot chocolate, and hot tea. It started off with Park Chan-wook’s shocking <i>Oldboy</i> rerelease at the movie theater. I had never seen the twenty-year-old film before, let alone read the comic book, but was well aware of the cult status. Naturally, I saw it twice. Afterwards, I settled in for a few classic Hayao Miyazaki animations in anticipation for <i>The Boy and the Heron</i> coming out later this year and some beautiful short films on Issa Rae’s HOORAE YouTube channel (still highly recommend). I was glad to end with Billy Wilder’s <i>The Apartment</i> on its last day on the Criterion Channel. Funnily enough, however, it is available on Hoopla Digital.</p><br />September Film Watches 2023<br /><br />1.) “Oldboy” (2006) Park Chan-wook #^ 9.5/10<br /><br />2.) “Fat Girl” (2001) Catherine Breillat #* 3/10 <br /><br />3.) “Cocaine Bear” (2023) Elizabeth Banks #* 2/10<br /><br />4.) “Dolores Clairbourne” (1995) Taylor Hackford # 9/10 <br /><br />5.) “Batman: Under The Red Hood” Brandon Vietti # 5/10 <br /><br />6.) “See How They Run” (2022) Tom George # 4/10<br /><br />7.) “The Cat Returns” Hiroyuki Morita #^ (2002) 7/10 <br /><br />8.) “Ghost” (1990) Jerry Zucker 9/10<br /><br />9.) “My Neighbor Totoro” (1988) Hayao Miyazaki #^ 7.5/10<br /><br />10.) “Porco Rosso” (1992) Hayao Miyazaki #^ 6.5/10<br /><br />11.) “The Kingsman Secret Service” (2015) Matthew Vaughan # 7.5/10<br /><br />12.) “The World of Arietty” (2010) Hiromasa Yonebayashi #^ 7/10 <br /><br />13.) “Good Kisser” (2019) Wendy Jo Carlton #* 2/10 <br /><br />14.) “Year Of The Rat” (2022) Ricky Qi #^ 9/10<br /><br />15.) “Love At Fifty” (2022) Tan Wei Ting #*^ 9/10 <br /><br />16.) “Seventh Grade” (2014) Stefani Saintonge #*+ 10/10<br /><br />17.) “Dream” (2015) Nijla Mu’min #*+ 8/10 <br /><br />18.) “Howl’s Moving Castle” (2004) Hayao Miyazaki ^ 10/10<br /><br />19.) “Home Away” (2013) Hannah Yohannes #*+ 10/10 <br /><br />20.) “The Big Chop” (2016) Derek Dow #^ 7.5/10 <br /><br />21.) “Joy” (2015) Solomon Onita Jr. #^ 10/10<br /><br />22.) “<a href="http://femfilmrogues.blogspot.com/2017/08/inamorata-brilliantly-defines-other.html" target="_blank">Inamorata</a>” (2017) A-lan Holt *+ 10/10 <br /><br />23.) “Party Girl” (1995) Daisy von Scherler Mayer #* 7/10 <br /><br />24.) “Vow Of Silence” (2014) Be Steadwell #*^ 9/10<br /><br />25) “Boyz In The Hood” (1991) John Singleton #^ 8/10<br /><br />26.) “Poetic Justice” (1993) John Singleton ^ 7.7/10 <br /><br />27.) “Liz And The Blue Bird” (2018) Naoko Yamada #*^ 10/10 <br /><br />28.) “A Backyard In Baldwin Hills” (2021) Dennis Williams III #^ 6/10 <br /><br />29.) “The Apartment” (1960) Billy Wilder # 9.5/10<p class="p1" style="-webkit-font-kerning: auto; -webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><br /></p><div><br /></div><div><div><div># first time watch <br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />*^ nonwhite woman filmmaker <br /><br />^nonwhite filmmaker <br /></div><div><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-family: UICTFontTextStyleBody;"><br /></span></p>Other notes: list of 29 films: 25 first time watches, 19 films directed/written by nonwhite filmmakers, and 11 films made by women.</div></div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-37422279522943577182023-12-26T04:49:00.000-08:002023-12-30T20:22:00.332-08:00August 2023 Film Watches<p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMdfNd5466SIokgJYhr4vIEQ7qA5Bs_9gICtnWVCucShhQR5Zw_iNF0bcf7aphPH71uayBaqnV0JWf-DL2n6np5yZmuHfpk3cOr-wVYXBncXsjbkD09Yphk1rOklZIiqLei6ZDU0ZYmH6cMf0MKSgl2l_kkqr2_Bl92WlJut5jQ9Ln8OOz19kFHxV9sg/s1920/9ADF3D74-044E-4518-ADEB-5A8385C4F58B.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMdfNd5466SIokgJYhr4vIEQ7qA5Bs_9gICtnWVCucShhQR5Zw_iNF0bcf7aphPH71uayBaqnV0JWf-DL2n6np5yZmuHfpk3cOr-wVYXBncXsjbkD09Yphk1rOklZIiqLei6ZDU0ZYmH6cMf0MKSgl2l_kkqr2_Bl92WlJut5jQ9Ln8OOz19kFHxV9sg/s320/9ADF3D74-044E-4518-ADEB-5A8385C4F58B.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lorraine Touissant, Charli’ Gurl, and Pernell Walker star in Jenn Shaw’s <i>Gaps</i>. DP: Michelle Clementine.</td></tr></tbody></table><br /><div>I attended the Twelfth Annual Blackstar Film Festival virtually, watching over thirty films— shorts, documentaries, feature lengths, all wonderful, unique, and profound in their own way. Thus, this beautiful interlude in the final summer month offers cinematic replenishment directed and written by people of color showcasing profound truth. Many of us look forward to this three day weekend to bear witness to the things we either already know (physically or intuitively) or to discover, to relearn the stories and histories that exposes us. We are fully engaged, captivated, healed. </div><div><br /></div><div>Furthermore, Blackstar Film Festival continues to offer us reprieve from white centered narratives— at least for a sweet, humble while. </div><div><div><br /></div><div><br />August Film Watches <br /><br /><br />1.) “Beneath The Surface” (2023) Cai Thomas #*+ 8/10<br /><br />2.) “Sol In The Garden” (2023) Débora Souza Silva and Emily Cohen Ibañez #*^ 8/10 <br /><br />3.) “What These Walls Won’t Hold” (2022) Adamu Chan #^ 8/10<br /><br />4.) “This Place” (2022) V. T. Nayani #*^ 7/10<br /><br />5.) “Sweatshop Girl” (2023) Selma Cervantes #*^ 9.5/10<br /><br />6.) “Sundown Road” (2022) M. Asil Dukan #*+ 6.5/10<br /><br />7.) “Living Proof” (2022) Tina Farris #*+ 8.5/10<br /><br />8.) “The Vacation” (2022) Jarreau Carrillo #^ 9/10<br /><br />9.) “The Freedom To Fall Apart” (2023) David A. Gaines #^ 6/10 <br /><br />10.) “A Place of Our Own” (2022) Ektara Collective #^ 8.5/10<br /><br />11.) “Jonathan Thunder Good Mythology” (2023) Sergio Mata’u Rapu #^ 8/10 <br /><br />12.) “Sydney G. James: When We See Us” (2022) Juanita Anderson #*+ 10/10<br /><br />13.) “Yo Soy Bella Negra” (2023) Vashni Korin #*+ 10/10 <br /><br />14.) “Fierceness Served! The EnikAlley Coffeehouse” (2021) Michelle Parkerson #*+ 9.5/10 <br /><br />15.) “Here, Hopefully” (2023) Hao Zhou #^ 8.5/10<br /><br />16.) “The Script” (2023) Brit Fryer and Noah Schamus #^ 6.5/10 <br /><br />17.) “Pandemic Bread” (2023) Zeinabu irene Davis #*+ 9.5/10 <br /><br />18.) “Bone Black: Midwives Vs. The South” (2023) Imani Nikyah Dennison #*+ 9/10<br /><br />19.) “The Aunties” (2022) Charlyn Griffith-Oro and Jeannine Kayembe-Oro #*+ 8/10<br /><br />20.) “Mirasol” (2023) Annalise Lockhart #*+ 10/10<br /><br />20.) “Gaps” (2023) Jenn Shaw #*+ 10/10 <br /><br />21.) “Looking Back At It” (2023) Felicia Pride #*+ 8/10<br /><br />22.) “Team Dream” (2022) Luchina Fisher #*+ 7/10<br /><br />23.) “MnM” (2023) Twiggy Pucci Garçon #^ 8.5/10 <br /><br />24.) “Accidental Athlete” (2023) Kevin Jerome Everton and Claudrena N. Harold #+*^ 8/10 <br /><br />25.) “Over The Wall” (2023) Krystal Tingle #*+ 10/10<br /><br />26.) “Ampe: Leap Into The Sky, Black Girl” (2022) Claudia Owusu and Ife Oluwamuyide #*+ 10/10 <br /><br />27.) “The Alexander Ball” (2022) Jessica Magro #^ 9/10<br /><br />28.) “Know Your Place” (2022) Zia Mohajerjasbi #^ 6/10<br /><br />29.) “Spirit Emulsion” (2022) Siku Allooloo #*^ 9/10 <br /><br />30.) “Mother Just a Smile” 2022) Cyrielle Raingou #*+ 10/10 <br /><br />31.) “The After: A Chef’s Wish” (2022) Umar Riaz #^ 9/10<br /><br />32.) “Sèt Lam” (2022) Vincent Fontano #^ 8.5/10 <br /><br />33.) “Between The Colony and The Stars” (2022) Lorran Dias #^ 8/10<br /><br />34.) “Crooklyn” (1994) Spike Lee ^ 10/10 <br /><br />35.) “Coconut Head Generation” (2023) Alain Kassanda #^ 9.5/10<br /><br />36.) “Is My Living In Vain” (2022) Ufuoma Essi #*+ 9/10<br /><br />37.) “The Space Race” (2023) Diego Hurtado de Mendoza and Lisa Cortés #*+ 10/10<br /><br />38.) “Conversations With Ruth de Souza” (2022) Juliana Vicente #^ 10/10<br /><br />39.) “Paid In Full” (2002) Charles Stone III ^ 6/10<p></p><div><br /></div><div><br /></div><div><div># first time watch <br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />*^ nonwhite woman filmmaker <br /><br />^nonwhite filmmaker <br /></div><div><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-family: UICTFontTextStyleBody;"><br /></span></p>Other notes: list of 39 films: 37 first time watches, 39 films directed/written by nonwhite filmmakers, and 26 films made and/or co-made by women.</div></div></div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-48232137222467507542023-12-25T07:00:00.000-08:002023-12-31T04:49:31.551-08:00June & July 2023 Film Watches <p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRXek8uV28uYPuA5xiIibyK9HbZ9k75rE7EgMSS22nIez9NsNYZ8aFVUnDPNmadzSiMvDHnP73pa3gjc8XOvfWgbvYZyfhdDu_S7mWyrJn_bf5tSiLcvjI7plrSMgAbu5RyQOyno-134zir_jAhfQmAIBdsowtgPzb3cS1bIV_SxF3_kk68TStsZ0RHA/s3375/67BCA0E9-5FE2-4193-9EEF-254FCFD6F609.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1941" data-original-width="3375" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRXek8uV28uYPuA5xiIibyK9HbZ9k75rE7EgMSS22nIez9NsNYZ8aFVUnDPNmadzSiMvDHnP73pa3gjc8XOvfWgbvYZyfhdDu_S7mWyrJn_bf5tSiLcvjI7plrSMgAbu5RyQOyno-134zir_jAhfQmAIBdsowtgPzb3cS1bIV_SxF3_kk68TStsZ0RHA/s320/67BCA0E9-5FE2-4193-9EEF-254FCFD6F609.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A scene from Hong Song-eun’s <i>Aloners</i> (2021). </td></tr></tbody></table><div><br /></div><div>I combined June and July watches due to watching a handful of films in July. This begins the first of several showings of Celine Song’s <i>Past Lives</i> (saw three times), a few selections from the Criterion Channel’s erotic series (which greatly excluded filmmakers of color and women), and some treasures seen overseas during my time in London— a highlight that includes Dionne Edwards’s underloved <i>Pretty Red Dress</i> and Davy Chou’s <i>Return To Seoul</i>, a favorite from many Best of 2022 Films lists. </div><div><br /></div>June Film Watches<br /><br />1.) “Past Lives” (2023) Celine Song #*^ 8.5/10<br />2.) “Broker” (2022) Hirokazu Kore-eda #^ 8/10 <br />3.) “Return to Seoul” (2022) Davy Chou #^ 8.5/10 <br />4.) “The Hound of Baskerville” (1959) Terence Fisher # 6/10<br />5.) “Addams Family” (1993) Barry Sonnerfield 7/10 <br />6.) “Past Sins” (2006) David Winning # 3/10 <br />7.) “Pretty Red Dress” (2023) Dionne Edwards #*+ 9.5/10 <br />8.) “Ms. Matched” (2016) Max Jean # 2/10 <br />9.) “Harry Potter and the Half-Blood Prince” (2001) David Yates 7/10<br />10.) “Superintelligence” (2020) Ben Falcone # 2/10<br />11.) “Veracity” (2015) Seith Mann #^ # 8/10 <br />12.) “Dream Lover” (1993) Nicholas Kazan # 5/10 <br />13.) “Single White Female” (1992) Barbet Schroeder # 4.5/10 <br />14.) “You and I and You” (2015) Terence Nance #^ 7/10<br />15.) “The Couple Next Door” (2020) Abbesi Akhamie #*+ 10/10<br />16.) “The Last Seduction” (1994) John Dahl # 3/10<br />17.) “Wild Orchid 2: Blue Movie Blue” (1992) Zalman King # 1.5/10 <br />18.) “Northanger Abbey” (1987) Giles Foster # 7.5/10<br />19.) “The Assassin” (2016) Hou Hsiao-hsien #^ 6.5/10 <br />20.) “Cinnamon” (2023) Bryian Keith Montgomery Jr. #^ 6/10 <br />21.) “Still Waters Run Deep” (2017) Abbesi Akhamie #*+ 9/10<br />22.) “Paraya” (2016) Shateel Magen and Martin Morganfield #*^ 8/10<br />23.) “Gallo Rojo” (2016) Alejandro Fadel and Zamo Mkhwanazi #*+ 8.5/10<br />24.) “Lokoza” (2016) Zee Ntuli and Isabelle Mayor #* 9/10<br />25.) “The Beast” (2016) Samantha Nell and Michael Wahrmann #* 8/10<br />26.) “Beyond Merritt” (2014) Reuben Johnson #^ 6/10 <br />27.) “Aloners” (2021) Hong Sung-eun #*^ 10/10<br /><br /><br />July Film Watches <br /><br />1.) “The Perfect Find” (2023) Numa Perrier #*+ 5/10<br />2.) ”Lying Eyes” (1996) Marina Sargenti #* 2/10<br />3.) ”The Phone Call” (2013) Mat Kirkby # 8/10 <br />4.) ”Lady Chatterly’s Lover” (1982) Just Jaeckin # 4/10 <br />5.) ”Barbie” (2023) Greta Gerwig # 7/10<br />6.) ”All That Heaven Allows” (1959) Douglas Sirk 9/10<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div><br /></div><div><div><br /># first time watch <br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />*^ nonwhite woman filmmaker <br /><br />^nonwhite filmmaker <br /></div><div><p class="p1" style="-webkit-text-size-adjust: auto; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-family: UICTFontTextStyleBody;"><br /></span></p>Other notes: list of 33 films: 30 first time watches, 15 films directed/written by nonwhite filmmakers, and 12 films made by women. </div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-44826962841770175382023-12-24T15:39:00.000-08:002023-12-26T20:57:33.347-08:00‘Earth Mama’ Pushes A Desperate Mother Into A Poignant Trimester<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinn44tM8MhCKahfcMkFoP4249xZsdmmuAMpNU6U1n65_OBxWDY4splynqgsf8uQa7gDRbMdMccQr67e9-o_-2wLdN8ZR8fWmnLlse5-z1fIBENvESCAGV-Bq6myoHVWYbHiCHy1zK_oy6GaWA2sF3iE3Qb86n1XUonC1HDkBcTe6WQxao1HZMEUNyuDw/s1481/6A8DFD5B-56D7-4D6E-A323-99F207E7D1C3.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1481" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinn44tM8MhCKahfcMkFoP4249xZsdmmuAMpNU6U1n65_OBxWDY4splynqgsf8uQa7gDRbMdMccQr67e9-o_-2wLdN8ZR8fWmnLlse5-z1fIBENvESCAGV-Bq6myoHVWYbHiCHy1zK_oy6GaWA2sF3iE3Qb86n1XUonC1HDkBcTe6WQxao1HZMEUNyuDw/s320/6A8DFD5B-56D7-4D6E-A323-99F207E7D1C3.jpeg" width="216" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><a href="https://www.imdb.com/title/tt18382328/" target="_blank">Earth Mama</a></i> film poster.</td></tr></tbody></table><p></p><p><i>Earth Mama</i> comes in threes, a symbolic trifecta perhaps.</p><p>Gia, a photographer assistant and former high school basketball player, is expecting her third child, lives with her drug dealing sister, and visits Trey and Shaynah once a week at Children’s Services. The father is neither mentioned or shown, a tragic, heartbreakingly familiar role, showcasing that women like Gia are accustomed to raising offspring either alone or obtaining community support. Three different women impact Gia’s final trimester— her best friend Trina, the sweet, gentle Mel, and the compassionate social worker Miss Carmen.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv1KBustVM_19hdaISgnk-d00ckiU7ugNrSSkfeafo_kYd0KvhRQynhsWmN_VKOYp4kjRQ0iHJhc200e6c30XzpIzm-A6SNsi7STj7cTkWnKSGFp0lIoTaj2vijmxdJ7izkqIhUN0AjqvP7W4_DiuKwI6jtszi23izuv_bqF0DPC9s7DO0SQ-ZgmJopg/s1937/C0A83631-6441-452F-9111-4443BF1F3135.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1184" data-original-width="1937" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv1KBustVM_19hdaISgnk-d00ckiU7ugNrSSkfeafo_kYd0KvhRQynhsWmN_VKOYp4kjRQ0iHJhc200e6c30XzpIzm-A6SNsi7STj7cTkWnKSGFp0lIoTaj2vijmxdJ7izkqIhUN0AjqvP7W4_DiuKwI6jtszi23izuv_bqF0DPC9s7DO0SQ-ZgmJopg/s320/C0A83631-6441-452F-9111-4443BF1F3135.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gia (Tia Nomore, far right) becomes accustomed to being out of the picture. DP: Jody Lee Lipes.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEius8OyoBOArSaWlH9Jd4K9kOqd3i1wWqFJApdJjcLde9G7LJi9r3GXBNICnUSqK4sHzQL536kCfVbUjEnaEXulYtMDFEciVn6z0qC5-b1y2jCwfv6lXfN-nN83oFDNGBdD1-9jWgR2gZ_6jz7CEwhWn3JyWkfh4cqSH71Y8xpH06h_oQiAwqvE1qvdRg/s1600/60155587-1A89-47A3-BC4D-DA7F0FEE89B4.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEius8OyoBOArSaWlH9Jd4K9kOqd3i1wWqFJApdJjcLde9G7LJi9r3GXBNICnUSqK4sHzQL536kCfVbUjEnaEXulYtMDFEciVn6z0qC5-b1y2jCwfv6lXfN-nN83oFDNGBdD1-9jWgR2gZ_6jz7CEwhWn3JyWkfh4cqSH71Y8xpH06h_oQiAwqvE1qvdRg/s320/60155587-1A89-47A3-BC4D-DA7F0FEE89B4.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">For example, Gia (Tia Nomore) has to make monitored appearances to Trey (Ca’Ron Jaden Coleman) and Shaynah (Alexis Rivas) instead of being fully in their lives. DP: Jody Lee Lipes.</td></tr></tbody></table><p>Trey and Shaynah are Gia’s entire world. She loves them so much. </p><p>Unfortunately, Gia cannot provide the environment that they deserve. Worse, the case worker stares at Gia’s far along belly, discussing the possibility of the newborn joining Trey and Shaynah in the corrupt system. The baby already has a set destiny despite still being in Gia’s womb. Furthermore, Gia’s phenomenal skills at her photography studio gig include her inventive imagination and keen ability to set up beautiful stages that suit individual desires. If only she could bring those masteries into her personal life, build a three-dimensional home from flat backdrops...</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4abhw8Tb7sGOyrMglePNQ2WyxBDhKOpnf7RxECucQ6LvPrn-JZd9lgaEqaVJieYz0035V46gBp4CT5cfZb_kAfd4K-pXa4bCtX6czr8KkrTSO3TJipMJHE0cKcIweMyM8NgANLLhfolKZhv6wqUb65rOCV9BjVJUPEt0GoiMXGhSf0MNkLB1x8zRhw/s1600/3917E97A-3D08-4FB4-8D50-CBE62B394C50.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4abhw8Tb7sGOyrMglePNQ2WyxBDhKOpnf7RxECucQ6LvPrn-JZd9lgaEqaVJieYz0035V46gBp4CT5cfZb_kAfd4K-pXa4bCtX6czr8KkrTSO3TJipMJHE0cKcIweMyM8NgANLLhfolKZhv6wqUb65rOCV9BjVJUPEt0GoiMXGhSf0MNkLB1x8zRhw/s320/3917E97A-3D08-4FB4-8D50-CBE62B394C50.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Trina (Doechii) does Gia’s (Tia Nomore) hair. DP: Jody Lee Lipes.</td></tr></tbody></table><p>Gia’s BFF Trina is also pregnant, seemingly at the same trimester. Gia needs someone who knows and understands what she endures. At first, maternity bonds Gia and Trina together. However, as Gia considers adoption, Trina becomes more and more metaphorical, her heavy words blasting societal determination to breaking the mother’s bond to her child early on. Trina’s spiritual point holds weight, especially considering the sordid American history of separating Black women and their children, selling them off to the highest bidders which later complicates ancestral family trees. Trina then brings in the religious big guns; Christian value philosophy finding itself dangerously nestled into impressionable Black minds. While Gia has ultimately decided to put relationships on hold to concentrate on getting Trey and Shaynah back, Trina pushes Gia into reconsidering options, to still give men a chance, to raise a baby that Gia cannot possibly afford. Trina blinding herself to Gia’s obvious distress, pursuing a “misery loving company” angle, puts their friendship at risk. Trina considers Gia’s moves as an act of betrayal, not an act of benevolence. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ8yBp432cFUFwr6iJGLMMxINHLxRc9C5CvE28x9_6jqkoRo_LJDf4oCbTZiUztcP0U6q5fD1ATzk7J0koL4m6TwmLjyevzKG2XT9m0bwmrw_ft9QhLb1WWxu0PJp4adi4AyrTpAAhcn5N3izZtkQ2L_j92Fd2VuycvOXAhlhrWoVE9yvntxGBM_buPA/s1946/616CF8C0-8318-411A-9564-D04E1EEA37DD.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1165" data-original-width="1946" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ8yBp432cFUFwr6iJGLMMxINHLxRc9C5CvE28x9_6jqkoRo_LJDf4oCbTZiUztcP0U6q5fD1ATzk7J0koL4m6TwmLjyevzKG2XT9m0bwmrw_ft9QhLb1WWxu0PJp4adi4AyrTpAAhcn5N3izZtkQ2L_j92Fd2VuycvOXAhlhrWoVE9yvntxGBM_buPA/s320/616CF8C0-8318-411A-9564-D04E1EEA37DD.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gia (Tia Nomore) and Mel (Keta Price) walk through nature. DP: Jody Lee Lipes.</td></tr></tbody></table><p>One of the most imperative figures in Gia’s life is her friend and neighbor Mel. In light of her grieving her recently departed mother, Mel opens up about her emotional turmoil whilst introducing Gia to a much needed special place away from the men who sit outside hollering at any passing female. In nature, Mel and Gia can breathe fully, divulge their life worries beside the waters and the trees, an escape from their harsh realities. Their scenes showcase another kind of grounding that Gia needs, a calming serenity that nature contains. Plus, Mel is one of the few that expects nothing from Gia whereas Trina wants Gia to keep the baby and Miss Carmen believes that adoption is the best option. Mel genuinely cares about Gia, showing up whenever Gia needs her, taking Gia’s frustrations without blowing back at her, and listening to Gia. Mel is a healing vessel, a moral compass that does not judge Gia for her choices. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi19AjBEMI3HONaEBmARgH4sHg0jdIDrw9-q-gwR7Z3WpoUhuo0ERmvj_oFNEmVaMgVyjlLnYC0n0Bg1aNVTiIpIGW7KUw62US7U-QnpDplXnu-Un-DldbGFQyJcDwKXj6jftHnhgNRpY4Xw3rLNL_lXYXewA_07xSpO5EZhIimPOUVSWcRJ8nH_ZWo_A/s1600/18AA2230-21DC-49F1-A1DD-36786D25E161.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi19AjBEMI3HONaEBmARgH4sHg0jdIDrw9-q-gwR7Z3WpoUhuo0ERmvj_oFNEmVaMgVyjlLnYC0n0Bg1aNVTiIpIGW7KUw62US7U-QnpDplXnu-Un-DldbGFQyJcDwKXj6jftHnhgNRpY4Xw3rLNL_lXYXewA_07xSpO5EZhIimPOUVSWcRJ8nH_ZWo_A/s320/18AA2230-21DC-49F1-A1DD-36786D25E161.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gia (Tia Nomore) looking through potential families for the baby in her womb with Miss Carmen (Erika Alexander). DP: Jody Lee Lipes.</td></tr></tbody></table><p>Miss Carmen, kind and supportive to a class of expectant mothers, has a motive at the end of the day— giving babies fresh homes, fresh starts. A skeptical Gia browses through the pages, humoring Miss Carmen, The unfortunate parallel is that while Gia loves and cares for her unborn child, questioning ways of ensuring survival, Gia’s baby represents a hopeful beginning for another family. They have generous resources that Gia cannot fully provide, primarily a soon-to-be empty nest, meaning ample room and one on one attention. Yet, Miss Carmen reminds Gia that she has a choice and in the end, is at Gia’s side when Gia needs her. </p><p>Led by a brilliant cast including newcomers Tia Nomore, Doechii, and Keta Price alongside award-winning actress Erika Alexander (whose already receiving acclaim for her supporting role in <i>American Fiction</i>), Savanah Leaf’s refreshing voice revives a deadening industry, a nice, sentimental surprise coming from a former Olympian. The starkly written and directed <i>Earth Mama</i> aligns with the sensitive material explored in Leaf’s earlier documentary short film <i>The Heart Still Hums </i>(co-directed/co-written by actress Taylor Russell). In that emotionally riveting piece, two incredible organizations: Chicks In Crisis and Black Mothers United help five women in Sacramento, California get their lives back on track as they face the brutal consequences of systemic oppression— homelessness, family neglect/abandonment, and limited monetary resources. The women sacrifice just as Gia sacrifices, putting their children’s well being above all else in the world. </p><p>It is highly recommended to watch <i>The Heart Still Hums</i> and <i>Earth Mama</i> together. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpxKZH47yMoQdYDLQgzK7_lxttX_JDIT8fADllVyIrR8oDv1zYBjDjX4AnX-gHHK-x22YEDcnjvNnK-7wcmaPqJj6sTd2K_bhrNb1VEM3YhUNHq48_6wNJ5DVWamQNNYv6zVzId8ee3efoKaSZPsXgkK1_eLZgG0CienaZpZWQc1-lZc9lV-YBVHPHnw/s2560/0C0AD140-75D7-45FC-B328-6CB451E26DBC.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="2560" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpxKZH47yMoQdYDLQgzK7_lxttX_JDIT8fADllVyIrR8oDv1zYBjDjX4AnX-gHHK-x22YEDcnjvNnK-7wcmaPqJj6sTd2K_bhrNb1VEM3YhUNHq48_6wNJ5DVWamQNNYv6zVzId8ee3efoKaSZPsXgkK1_eLZgG0CienaZpZWQc1-lZc9lV-YBVHPHnw/s320/0C0AD140-75D7-45FC-B328-6CB451E26DBC.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Trina and Gia. DP: Jody Lee Lipes.</td></tr></tbody></table><p>Also, similarly to A. V. Rockwell’s <i><a href="http://femfilmrogues.blogspot.com/2023/04/a-thousand-and-one-breaking-down-its.html" target="_blank">A Thousand and One</a></i>, <i>Earth Mama</i> bravely confronts the foster care system— a problematic, separation tactic that treats individuals sans compassion and grace. Children are more so its victims and not necessarily nurtured towards a brighter future. As part of her agreement to keep seeing Trey and Shaynah— two kids taken care of by unseen strangers— Gia stays clean and works a decent retail job. She’s treated, however, as a prisoner, subjected to urine tests with frequent requests to view her living arrangements. Thus, the mother interacts with her children much like inmates do with their families, for limited time, supervised. Although reasonable and somewhat fair— the children deserve to be in safe, thriving environment— this does highlight the often generational, structural failings for American women who have no college degrees, low income jobs that provide no room for further promotion/substantial wages, and the housing crisis in addition to a lack of sexual education and mental health aid. Even if Gia chased her sports dreams, she would always be hounded by the past, have this blight on her record, and Trey and Shaynah (who already shows signs of resentment) would certainly not forget. </p><p>Overall,<i> Earth Mama</i> doesn’t embellish truths or disguise Gia’s story into a fairy tale ending. Instead, the ambiguous outcome offers a slim glimpse of hope to a young woman and her three precious children—forever judged for merely existing. </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-364366369215397592023-11-29T18:01:00.000-08:002023-11-30T10:29:53.188-08:00The New ‘Goosebumps,’ Analyzing Allison’s Trope Purpose<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElztBh3fe9rDo2nhPbURepm8piEn-BEcs-SrAIVW-q0NXMu-4ltq1aMXUbr6PGrNZMvfSp1ls5mJsu7wLOLHn9k9Lgl1rU3rn-Sdo8ADdcXx4IMpG8seZz3um5dMTq8a_gzjiR-a4jMXHaT3EMFgb3WVyQqY5hvGcv2EBdSRlPXm6aPlnv13Z7CovLA/s755/29A913D9-640A-4387-99A9-CC5A3D76F7B2.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="755" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElztBh3fe9rDo2nhPbURepm8piEn-BEcs-SrAIVW-q0NXMu-4ltq1aMXUbr6PGrNZMvfSp1ls5mJsu7wLOLHn9k9Lgl1rU3rn-Sdo8ADdcXx4IMpG8seZz3um5dMTq8a_gzjiR-a4jMXHaT3EMFgb3WVyQqY5hvGcv2EBdSRlPXm6aPlnv13Z7CovLA/s320/29A913D9-640A-4387-99A9-CC5A3D76F7B2.webp" width="216" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Goosebumps</i> series poster.</td></tr></tbody></table><br /><div class="separator">Another revamped version of R. L. Stine’s <i>Goosebumps</i> returns to the small screen. Instead of individual stories set in sporadic places, Rob Letterman and Nicholas Stoller’s series puts the iconic horrors (like <i>Say Cheese and Die</i>— the episode starring a young Ryan Gosling and <i>The Haunted Mask</i>, a personal favorite) in a singular small Washington town. Soon, the young angst brings another horror altogether. Allison, Isaiah’s popular girlfriend, has competition for his waylaid affections in the next door neighbor Margot and even the vengeful, invisible Isabella. Yet, of the three girls, only one isn’t included in the upcoming Scooby Doo-ish quintet that eventually forms.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQFFSMaEvU-5PU3JFK9Js7YGDa9_F1qfBZBS5HAI4WpcmwfjNDHb-gMoOjBFFOqFgR7F17_D-ldmmoZw269OIdPRyEuCCfB1quCnSYC3V5tq1mPkyTJrncL9_B6Wd6UBtfPwwyPuluYkK2ZB-pzovEtwev8X-hniCkQxfwKrBqJqL5B2qbB026bPetw/s837/770A3524-727E-422E-91F7-A1A0F80BE3FE.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="663" data-original-width="837" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQFFSMaEvU-5PU3JFK9Js7YGDa9_F1qfBZBS5HAI4WpcmwfjNDHb-gMoOjBFFOqFgR7F17_D-ldmmoZw269OIdPRyEuCCfB1quCnSYC3V5tq1mPkyTJrncL9_B6Wd6UBtfPwwyPuluYkK2ZB-pzovEtwev8X-hniCkQxfwKrBqJqL5B2qbB026bPetw/s320/770A3524-727E-422E-91F7-A1A0F80BE3FE.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James (Miles McKenna), Isaiah (Zach Morris), and Allison (Rhinnan Payne) seem to be a tight crew, but they’re anything but. DP: Stephen McNutt and Thomas Yatsko.</td></tr></tbody></table><br /><div>If you’ve read any tweets, you can see from the start that watchers write off Allison as an insecure, jealous, and annoying Mean Girl. Allison, a gorgeous Black teen sporting a moisturized Afro and killer fashion sense, vents about her canceled secret party, unknowing that Isabella has been cyber bullying her— supposedly as tit for tat. The quiet, unsuspecting girl is this year’s cruel hacker and it doesn’t take a mask to showcase that Isabella too behaves nastily. She just exhibits it differently. <br /><div><br /></div><div>Allison’s Halloween party goes off without a hitch at the haunted home of Harold Biddle until new owner Nathan Bratt, the English teacher / failed writer, kicks everyone out. Allison runs into the woods— questionable behavior, Sis— and meets Biddle’s ghost. Isaiah happens to find her and seems genuinely concerned for her well being. This care begins fading away in the next episodes. Allison sees the closeness between Isaiah and Margot and questions it, which is understandable. How can anyone compete with the childhood girl-next-door, the one who has seen him grow up, whose families are also explicitly intertwined? Plus, she’s beautiful, fair, and soft spoken. Of course, Allison feels threatened by Margot, someone many would prefer. The writing makes this storyline glaringly obvious— its noticeably drawn feminine parallels of darker versus lighter complexion characters. Allison showcases a brash and loud external personality whereas Margot is a vulnerable and shy internalized figure. So, yes, this specific (yet expected) conditioning begins early in adolescence. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsaW4zFy3ntCV8hm1Zh9BSwOew1KhOar-u8oZ7Hwd_CX564jlg6hO5gosJDZKH0JH1UavN8N_n1UfAMY6IQ7k1Wf3zRFL0ZTyD0hPo6HyVnCQDT1cLwkbyc5o95a78RWz_JZAoRcnEw7x0sg-NqiOdNZqKLSd28Rc4-W32KWypnIOlE1NYLBqBdL-jYg/s1480/9CA206D0-68B8-4A93-A41C-14D5A89868A7.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="837" data-original-width="1480" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsaW4zFy3ntCV8hm1Zh9BSwOew1KhOar-u8oZ7Hwd_CX564jlg6hO5gosJDZKH0JH1UavN8N_n1UfAMY6IQ7k1Wf3zRFL0ZTyD0hPo6HyVnCQDT1cLwkbyc5o95a78RWz_JZAoRcnEw7x0sg-NqiOdNZqKLSd28Rc4-W32KWypnIOlE1NYLBqBdL-jYg/s320/9CA206D0-68B8-4A93-A41C-14D5A89868A7.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Allison inspecting the haunted Biddle House with Isaiah (Zach Morris) and James (Miles McKenna) for her secret costume party. DP: Stephen McNutt and Thomas Yatsko.</td></tr></tbody></table><br /><div>The other takeaway is that Isaiah and Margot’s parents went to high school together. They too formed a close-knit pact with the other parents in town, excluding Allison’s own. She would always be on the outside looking in, a girl with no connections other than being the stylish babe on the football player’s arm. There is no interest in developing where she comes from, her Cordelia Chase behavior, or why she even dates Isaiah. Perhaps that’s just old-fashion high school sentiment, the popular always seeks the popular, no questions asked. Often, it seems Isaiah doesn’t really like Allison as much as she likes him. Young, dumb, teenage coupledom stuff. She’s a placeholder until the one he truly wants admits her feelings. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVrKeDuojNyCXO7uTJghOGYbLrkj36b0R49h0WucrAf1TWHKYyP8OMYCbDCEb5ToHTLZHlysVhD26WzP7Dydg2HVjzANIg0N4kvcelSBGeYKr2r67L5jyV4ZTiEJ9laD5GQEsuN66WISd0QZZRjxqKerFJ1H9gxuzH_a0qW4-uen6P3d67cofc1X0rA/s1398/C93ACA33-CD99-4990-894D-5BB50B452FF1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="782" data-original-width="1398" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVrKeDuojNyCXO7uTJghOGYbLrkj36b0R49h0WucrAf1TWHKYyP8OMYCbDCEb5ToHTLZHlysVhD26WzP7Dydg2HVjzANIg0N4kvcelSBGeYKr2r67L5jyV4ZTiEJ9laD5GQEsuN66WISd0QZZRjxqKerFJ1H9gxuzH_a0qW4-uen6P3d67cofc1X0rA/s320/C93ACA33-CD99-4990-894D-5BB50B452FF1.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Once the lights go out, the curious trio: Isaiah (Zach Morris), Allison (Rhinnan Payne), and James (Miles McKenna) inspect the mysterious Biddle House. DP: Stephen McNutt and Thomas Yatsko.</td></tr></tbody></table><br /><div>Thus, the cheating happens— a metaphoric coincidence of Isaiah copying off Margot’s test (which she allows) while Margot’s father, the school guidance counselor Colin is having an intimate affair with restaurateur Nora— Lucas’s mother. Meanwhile, Allison is suspicious, asking Isaiah if anything is happening between him and Margot. He denies and denies, expressively stating that nothing is there. Allison’s strong women’s intuition should have told her not to settle, especially upon witnessing the five (Isaiah, Margot, James, Isabella, and Lucas) having secret meetings. Allison could have helped move things further along, the first seeing the ghost burst into flames before her very eyes and keeping mum about the experience. <br /><br />Instead of being a good boyfriend, much less a genuine pal, Isaiah shuts out Allison on the paranoia tip, but admits the plagiarism with Margot. This again parallels Colin and Nora’s scandalous affair. The sadness and disappointment sweeps across Allison’s face— that “how could you?” despair. Isaiah couldn’t ask Allison for help, ask the teacher or librarian for additional aide, let alone study. No. He runs to Margot and begs the smart girl to let him copy her hard work. Allison says Isaiah’s not who she thought he was and turns her back on him, heading to Colin’s office. In that moment, Allison would either lose a shifty boyfriend or pretend that she could overlook what was manifesting right in front of her. And it had nothing to do with an angry spirit. In that moment, she becomes another villain, a catalyst to the impending coupling of Isaiah and Margot. Also, Allison then is petered out, mentioned only casually as a stinging barb from Isabella’s lips. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaVW4-mT81mSZ4n2J56rhaVfF43F9AfEvWFrO0keR_cvfTUrfKlm4uOPyfyF1kallvg4xci_fWq83ksmvznnpuRQ9anUJnX2Gn8ug5k5EBbZ5FKzq_IGNvduXfoFnGKa2p8-trG8-s7Urb09SZWdMAAkYOmPvIxu6VHzuQKZ7VgBH9jTxUugtueNiBg/s697/8161E75C-441D-442B-8490-056672AB304A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="502" data-original-width="697" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaVW4-mT81mSZ4n2J56rhaVfF43F9AfEvWFrO0keR_cvfTUrfKlm4uOPyfyF1kallvg4xci_fWq83ksmvznnpuRQ9anUJnX2Gn8ug5k5EBbZ5FKzq_IGNvduXfoFnGKa2p8-trG8-s7Urb09SZWdMAAkYOmPvIxu6VHzuQKZ7VgBH9jTxUugtueNiBg/s320/8161E75C-441D-442B-8490-056672AB304A.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Isaiah (Zach Morris) aka Fred and Margot (Isa Briones) aka Daphne of this makeshift Scooby gang. DP: Stephen McNutt and Thomas Yatsko.</td></tr></tbody></table><br /><div>Once Isaiah dumps Allison offscreen, a relieved James vents about how much he never liked her (turncoat!). In the next breath, however, Isaiah relays concern over Margot and her soon-to-be stepbrother Lucas. </div><div><br />“You don’t think I have anything to worry about, do you?”— Isaiah asks James who gives subtle wingman flashbacks of Greg “You’re So In There” Wuliger from <i>Everybody Hates Chris</i>. It’s an eye rolling contradiction. Alas, that’s the honest thing about youth, still uncertain about who/what you want in your future. You may want mint chocolate chip cookie dough, but the rocky road has always been a divine flavor to your taste buds. Allison doesn’t symbolize true love to Isaiah. She was already established, a comfortable thing already conquered, a dying flame. They almost seemed brother/sister, platonic. Whereas Margot presents the untested boundaries, the forbidden possibility. Also, Isaiah and Margot’s interactions always held a tension that wasn’t apparent between Isaiah and Allison— that’s intentional. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVcoB0428eiHV1VKjdz_JgnymtN8FYbtNROsPyEp9n67DbBvrTAqf5F2Nye0PsNyvE4SycG3tO0a62BUoU6EHo2qReivhW0gOsD9uoAUvGPAxloJgNjF9a_nRjQm-yZy9VEPnhYeKQNyAd4Sse4ZxrA0TApbzFUyjOSa0BNKfNcxqVVX8QC7HmYw6RZw/s3000/BBEF403C-7833-4D55-968B-BE671E53E796.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVcoB0428eiHV1VKjdz_JgnymtN8FYbtNROsPyEp9n67DbBvrTAqf5F2Nye0PsNyvE4SycG3tO0a62BUoU6EHo2qReivhW0gOsD9uoAUvGPAxloJgNjF9a_nRjQm-yZy9VEPnhYeKQNyAd4Sse4ZxrA0TApbzFUyjOSa0BNKfNcxqVVX8QC7HmYw6RZw/s320/BBEF403C-7833-4D55-968B-BE671E53E796.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">There’s no room for Allison on this paper bag test couch anyway— the “Scooby” gang: Isaiah “Fred” (Zach Morris), Isabella “Velma” (Ana Yi Puig), James “Shaggy” (Miles McKenna), Lucas “Scooby” (Will Price), and Margot “Daphne” (Isa Briones). Plus, Isabella— who’s also harboring a crush on Isaiah touches his thigh. James is sadly sandwiched between the strangest quadrangle of unrequited crushes. DP: Stephen McNutt and Thomas Yatsko.</td></tr></tbody></table><br /><div>Still, for Allison, if I were writing for her, viewers would see her coming to terms with the Biddle ghost and whatever else she’s certainly seen at night. What are her own reservations for the future? Would she prefer staying in a creepy town where ghouls and worm monsters swirl among the strangely empty streets? Or would she have done what typical lovers do— follow her boyfriend wherever he wound up? However, what if that first encounter in the woods made Biddle possess her as opposed to Nathan? Did her parents move to town after the five accidentally burn Biddle alive or did they two witness Slappy in action?</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYYOccZKaCJDdPk_rzARMMz1ennRz4RT3Loo2mXIXNz5nbsgSURaJ-hl3ZSXWIXJGKBpbW8uwF_tYoigFNdvi23MoDDOihXGlUdFzrHOeoBQQEmItyq4OKkFMLUyVu5ORV4FdQ1bJH4wYtNUlHU21YkYRRlYglSwL8tGDk3lqlzZBdQdTnFtIJKQ1dg/s1010/A99DE353-AC6D-4AB5-9BEC-1CC5AAE0C99E.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1010" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYYOccZKaCJDdPk_rzARMMz1ennRz4RT3Loo2mXIXNz5nbsgSURaJ-hl3ZSXWIXJGKBpbW8uwF_tYoigFNdvi23MoDDOihXGlUdFzrHOeoBQQEmItyq4OKkFMLUyVu5ORV4FdQ1bJH4wYtNUlHU21YkYRRlYglSwL8tGDk3lqlzZBdQdTnFtIJKQ1dg/s320/A99DE353-AC6D-4AB5-9BEC-1CC5AAE0C99E.jpeg" width="304" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maria (Rhinnan Payne) in the forthcoming short film, <i>Are You Hungry?</i>— cinematography by Belen Garcia, photo by Luka Ciprian.</td></tr></tbody></table><br /><div>Allison’s portrayer Rhinnan Payne, who has a modest amount of film/television credits, shows a promising future here. An upcoming project— Rachel Rose’s short film called <i><a href="https://m.imdb.com/title/tt27406279/">Are You Hungry?</a></i>— has Payne leading as Maria, a star varsity basketball player reflecting on the thrill of the game and appreciating an aggressive coach’s methods. Maria sounds similar to Allison, passionate, determined. There’s about twenty people or more in the male created <i>Goosebumps</i>, so yes, this Maria role definitely gives Payne breathing room outside of big casts, especially as Payne is recurring and not heavily promoted on the latter.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Cag5HDMCBB_MFSFB8lJ58Xxznf7i-MJxNOjDV00stCs_KUr4jBppNhqcBpRKzyL27zU4scEs6eENHioh_pH4RzG5gavexqhMhvXE5X_L9PHbCMG13DCDzJbyuqHU-jUGM96hWH-dhlRfaBAy1FhmDpesdr410PQCn8bBhyKsZ5XH-d2QE0gKK6ENQQ/s1320/64CA1FF2-41F5-494B-A7C3-0AE38BC16957.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1320" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Cag5HDMCBB_MFSFB8lJ58Xxznf7i-MJxNOjDV00stCs_KUr4jBppNhqcBpRKzyL27zU4scEs6eENHioh_pH4RzG5gavexqhMhvXE5X_L9PHbCMG13DCDzJbyuqHU-jUGM96hWH-dhlRfaBAy1FhmDpesdr410PQCn8bBhyKsZ5XH-d2QE0gKK6ENQQ/s320/64CA1FF2-41F5-494B-A7C3-0AE38BC16957.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">May we always remember Allison (Rhinnan Payne) dressed as Uma Thurman’s infamous Bride and SZA’s <i>Kill Bill</i> playing on the rolling end credits— probably one of the more clever moments in the series. DP: Stephen McNutt and Thomas Yatsko.</td></tr></tbody></table><br /><div>After binging all ten episodes (some contain good scares) and seeing that Black girls remain unloved by the white male gaze, the biggest takeaway is that Rhinnan Payne made an impression. Furthermore, Allison may not have been around long, she counts as a Final Black Girl anyway (though no one dies in this <i>Goosebumps</i> except Biddle and his parents— rest in peaches).</div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-86096250115386681122023-10-28T21:00:00.137-07:002023-10-30T23:46:05.776-07:00‘Our Father, The Devil,’ Teaches Of Untold Hells On Earth<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6delg7N3wsjls6jT3YbGJm5gQVOWFLtEMw4S8wwOOS0IKhLxrPdE-WBE-4RuIo0aF8TyH32dy6gsHu95GjZSyGs6xbqdLCYKj4J9mOQwZANm6VVyb_nthVhIx-aeABtak3jijhj5F8jhIHKpd4M3aK0hAJK1q7c93Tfys3UR3u0I2-IRj8Si9CVgKuw/s1477/DEA6E206-C67E-48A8-AF2C-EFBC346FDC0A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1477" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6delg7N3wsjls6jT3YbGJm5gQVOWFLtEMw4S8wwOOS0IKhLxrPdE-WBE-4RuIo0aF8TyH32dy6gsHu95GjZSyGs6xbqdLCYKj4J9mOQwZANm6VVyb_nthVhIx-aeABtak3jijhj5F8jhIHKpd4M3aK0hAJK1q7c93Tfys3UR3u0I2-IRj8Si9CVgKuw/s320/DEA6E206-C67E-48A8-AF2C-EFBC346FDC0A.jpeg" width="217" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Our Father, The Devil</i> film poster.</td></tr></tbody></table><br /><div class="separator"><i>Our Father, The Devil</i> simmers a slow burning masquerade that loosens its secrets seam by seam, ultimately revealing two people attempting separate paths of redemption. Yet, questions arise between the parallel twists and shocking turns. Can a person truly be redeemed after committing heinously evil acts many years ago? How much are they willing to risk in order to achieve a clean slate? And is an apology ever enough to begin the process of forgiveness? </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOcEYdZ3cCkH-2K-HlEOThT0Omkgbz4GT44_nKHXr6iUqYcSxBT61lJTQIySf4y6vsLwKn6Djpsw2El7ruWjNk9bIYonA6cgykmnx1Y5qTb-mAD7Le_xJVuu4R0mz0jkQ2E8FBM5Gg_Z4WvE1yHxN-bfKQjIcJy55fVpJgz-CZsp6uWIzQyFW0aBPZg/s1600/FB3AB605-9A56-4743-B3AB-E6533AEBC92F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="899" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOcEYdZ3cCkH-2K-HlEOThT0Omkgbz4GT44_nKHXr6iUqYcSxBT61lJTQIySf4y6vsLwKn6Djpsw2El7ruWjNk9bIYonA6cgykmnx1Y5qTb-mAD7Le_xJVuu4R0mz0jkQ2E8FBM5Gg_Z4WvE1yHxN-bfKQjIcJy55fVpJgz-CZsp6uWIzQyFW0aBPZg/s320/FB3AB605-9A56-4743-B3AB-E6533AEBC92F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marie (Babetida Sadjo) is a lovely dark-skinned chef donning a septum piercing, epic lip stick shades, and banged box braids. She’s rootable from the start. DP: Tinx Chan.</td></tr></tbody></table><br /><div>The film opens on beautiful, elusive Marie Cissé having a solitary drink. She represents the idyllic dream— a quiet existence in the French mountainside, respect from Sabine, her boss as a talented head chef for a nursing facility, and the keys to a befitting kingdom via Jeanne, a dear, supportive mentor. Marie has a whiny friend in fellow co-worker Nadia. In the sweet secluded cabin in the woods, high above a cliff and majestic scenery (an important heirloom in Jeanne’s family), Marie enjoys the solitude and tells no one about it. However, Marie’s resplendent bliss becomes threatened by the sudden appearance of Father Patrick, a charming priest who has swept the entire staff and residents under his religious thumb. Every move he makes—from his walk to the way he carries a spoon— triggers Marie. <br /><br />Furthermore, Marie, the African immigrant, has grown accustomed to French colonialism. Her body already seems to belong to the surrounding whiteness. A co-worker undermines Marie’s cooking, Sabine refuses to give much needed vacation, and a persistent bartender aims to seduce. Whereas Nadia believes Marie just needs a man, Jeanne respects Marie’s potential and rich, delicious cooking. At the same time, Jeanne encourages Father Patrick’s influence unknowing that the enigmatic man stirs discomfort. Marie’s desperation for temporary escape grows and grows until she decides to do something unexpected about it. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkZ7CKTHpyGVC6EhU2z4epRT4g6kaCIl1UTpz8HPRHqIMAhWcP-K0qC_GmwneSP6tVYDNw9jp0YOOMOmoMjl5gVqgGe7WbvtDEESewc3qVZ1zOOVloUhn3ANygpK-Op4O8HYU-JNjLqCBfB1qMgUREpyuwvGL0Nir9hKCRXoiQUECkuw0OJGwjSqe_g/s800/BC80976B-707F-4AC3-BC25-FC513B5B54A2.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="800" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkZ7CKTHpyGVC6EhU2z4epRT4g6kaCIl1UTpz8HPRHqIMAhWcP-K0qC_GmwneSP6tVYDNw9jp0YOOMOmoMjl5gVqgGe7WbvtDEESewc3qVZ1zOOVloUhn3ANygpK-Op4O8HYU-JNjLqCBfB1qMgUREpyuwvGL0Nir9hKCRXoiQUECkuw0OJGwjSqe_g/s320/BC80976B-707F-4AC3-BC25-FC513B5B54A2.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">All the prayer and time in the world cannot change a victim’s inherent trauma, Father Patrick (Souleymane Sy Savane). DP: Tinx Chan.</td></tr></tbody></table><br /><div>The narrative shifts towards the former mouse, the former soldier snatching back her power from the once horrendous cat. The metaphor weighs heavy here. Father Patrick believes his past can be buried beneath sacred black and white cloth. In glaring reality, Marie, sees the monster that forever scarred her. Trauma— the reason for Marie’s closed off personality, her steel guardedness— impacts her newfound motivation. After what has been done to her as an innocent child, how could she trust a single soul? How could she give this man an ounce of remorse? And can she heal with the blood stains permanently imprinted on her mind? </div><div><br /></div><div>The gifted cabin symbolizes another form of pleasure, albeit sadistic— a place to enact revenge where no one can discover them, let alone suspect foul play. Father Patrick’s pleading tries to convince and tug on Marie’s vulnerable nature, for a moment seeming quite believable. The terrible fact about surviving trauma is that certain elements remain burned in the brain. They may be far from whence they hailed. Time may have passed. Marie may have carved herself a healthier situation.</div><div><br /></div><div>But she was not going to forget what was done to her or her family. </div><div><br /><i>Our Father, The Devil</i> is brilliant from its effective title to the fiery direction and story, a feature length debut by Ellie Foumbi, also an actress starring in early <a href="http://femfilmrogues.blogspot.com/2023/03/the-short-films-of-nikyatu-jusu.html" target="_blank">Nikyatu Jusu</a> shorts, <i>Suicide By Sunlight</i> and <i>Say Grace Before Drowning</i> and Abbesi Akhemie’s <i>The Couple Next Door</i>. Nominated for Best First Feature at this year’s Independent Spirit Awards and Best Film at the Africa Academy Awards, Foumbi’s strong, vital voice deserves a seat at the Directors To Watch table. Someone needs to put out a bulletin, alert the media radar. Her fresh, bold narrative delivers far better material than most films wallowing in the same rehashed storylines with the same overpaid actors. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2YDDYSYw_J3c-2MvochEuyrncusD5IBcuLJehQ1BBpNK48V7XwltpBfQxDxgrW_UMSohq9DXwoH9zb_AMF_17EQGCFf7qmxLIwx-RfL2uGe3K9nKCA3oZ_gYB7Gx4s-TQo06V-ZGSud_L173d0vyCLdg9kR775h1Pf89wMOBobsoBGiTKGbtM-Wulog/s1280/AC70E6E8-BA23-4960-8A27-B513336663C1.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2YDDYSYw_J3c-2MvochEuyrncusD5IBcuLJehQ1BBpNK48V7XwltpBfQxDxgrW_UMSohq9DXwoH9zb_AMF_17EQGCFf7qmxLIwx-RfL2uGe3K9nKCA3oZ_gYB7Gx4s-TQo06V-ZGSud_L173d0vyCLdg9kR775h1Pf89wMOBobsoBGiTKGbtM-Wulog/s320/AC70E6E8-BA23-4960-8A27-B513336663C1.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">To feel or not to feel remorse for your prisoner— and rightfully so, Marie does not give a chuck for a while. DP: Tinx Chan.</td></tr></tbody></table><br /><div>The cast is also excellent, especially the dynamic Babetida Sadjo as Marie, a woman confronted by an ugly past that could potentially mar her brightening future. Souleymane Sy Savane as Father Patrick rendered a character reinventing himself as a close ally to sainthood. In one moving scene, a tear glides down his eye and for a split second, a hardened Marie could have almost succumbed as easily as the community she partly distances herself from. Sadjo and Sy Savane play off each other beautifully— raw, harsh, and severe. Brilliant acting masterclass work with Tinx Chan’s intense cinematography pushing Foumbi’s emotional story forward. <br /><br />Overall, <i>Our Father, The Devil </i>sends guttural shivers through the heart and mind. It’s thrilling, mysterious, sensuous, and difficult, but leaves an unforgettable impression.</div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-42745603997252028972023-07-01T01:40:00.002-07:002023-07-01T20:35:02.897-07:00Saturday Soapy Flashback: Julia Lindsay, A Good Woman Turned Catastrophic<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgErbK3WY9VLjQPLdHlKqv9KsZVGyUQLFFGqGYmKr0vE0KIgeyqYJmFjQwgp6Odj4SnlerX1ammy1m7XW4RY6fY7IZIISrzTuZ1_G6PyPHrGl60q_O8LS3gBeThjvqYQRpgVu5-qSjNYPpB_VDPubWLfl0wrn21gzIBVnFPJQXN8sOY7TVIVi3XBvU/s1291/30EAFD49-D52C-4C26-99B3-68C974C13F86.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1058" data-original-width="1291" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgErbK3WY9VLjQPLdHlKqv9KsZVGyUQLFFGqGYmKr0vE0KIgeyqYJmFjQwgp6Odj4SnlerX1ammy1m7XW4RY6fY7IZIISrzTuZ1_G6PyPHrGl60q_O8LS3gBeThjvqYQRpgVu5-qSjNYPpB_VDPubWLfl0wrn21gzIBVnFPJQXN8sOY7TVIVi3XBvU/s320/30EAFD49-D52C-4C26-99B3-68C974C13F86.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The tea on Julia Lindsay (Annie Parisse)— she was a perfect example of a good character with the villainy volume amped up way too high. </td></tr></tbody></table><p></p><p>On the April 10, 1998 episode of <i>As the World Turns</i>, a runaway rich girl named Julia Lindsay sat on a train next to her future downfall— the wishy washy Oakdale, Illinois police detective Jack Snyder. The smart, beautiful Julia should have trusted later instincts and escaped the heartfelt clutches of a man hung up on the mischievous vixen Carly Tenney. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ_zPWe5fPhVApcHXaPInj9ILgWhNl7zERVc_tC4ORAYdTwB5IK3itd-Eib-JedO6NiWEOyHgIqHRR5TkMiD4KjUpEG8imNutMiYK5KnJCstTgiLXNJGTxuwCnWb5cUnENoyOrl2NWgoF4JwqUXTZYM0Y1qRZbUdUnTOLNJ3TEvzLIcqOgWPrDrfX5fQ/s1125/0A47C3FB-3A62-4A8A-ACDB-16C3E97A56C0.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="830" data-original-width="1125" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ_zPWe5fPhVApcHXaPInj9ILgWhNl7zERVc_tC4ORAYdTwB5IK3itd-Eib-JedO6NiWEOyHgIqHRR5TkMiD4KjUpEG8imNutMiYK5KnJCstTgiLXNJGTxuwCnWb5cUnENoyOrl2NWgoF4JwqUXTZYM0Y1qRZbUdUnTOLNJ3TEvzLIcqOgWPrDrfX5fQ/s320/0A47C3FB-3A62-4A8A-ACDB-16C3E97A56C0.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Julia’s first appearance. <br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIVC6Upeb53xCbzyV-Xn0XGzcRGA9ZQNFlrVhud38Q6J3oBEeB04hMdaarK-OViNHILAeKMj6vhOoreBO044dICbXb1LWxIXw1GsQUI9Dbr-H8edp_FiEqNwcahFXlcZn0bqxnZXTFGJ17qXqPLMy3DkQ3UjmD70HErIz8cSjj_uUSGCD7ld_mPVY/s1415/3B422941-6324-491F-8B3E-ED445D289BA7.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1415" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIVC6Upeb53xCbzyV-Xn0XGzcRGA9ZQNFlrVhud38Q6J3oBEeB04hMdaarK-OViNHILAeKMj6vhOoreBO044dICbXb1LWxIXw1GsQUI9Dbr-H8edp_FiEqNwcahFXlcZn0bqxnZXTFGJ17qXqPLMy3DkQ3UjmD70HErIz8cSjj_uUSGCD7ld_mPVY/s320/3B422941-6324-491F-8B3E-ED445D289BA7.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Julia sans her glasses. </td></tr></tbody></table><p>In typical soapy fashion, Jack hopes to escape his heart’s wicked desires and find a true good woman— someone to snuff out the sinful temptation. Yet, Jack— who knows of Carly’s crimes and never turns her in for them— assuages his conscience by moving forward with Julia, a woman needing a full commitment. It doesn’t help that Jack will always run into his blond-haired ex in small-town Oakdale, bound by the family farm and a comfortable job that keeps him on lawful high ground. However, newbie Julia cannot compete when constantly reminded of Jack’s all-consuming love. She must be second best, his projection despite his denying the truth. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip4peVOzMrKAJsjAC_OW5C9Nhr0bymVKsmt_BHB_iIT-YALVMmiHXsx8btvsZFQnouEwhcHwhiv6Qo7uSyZ2vcu8H3Pyr5FB4pfhfZWqQNyWmbpFjqf1a0vj-e8T5I26REQ9tAizTzHQUt3pw_5wAqMAP_8GUIvPZJQJgEpg4wINLtiMO2qGHG8_s2lg/s1125/33B904EB-4BC9-4A14-849F-29E4640BC88A.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="852" data-original-width="1125" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip4peVOzMrKAJsjAC_OW5C9Nhr0bymVKsmt_BHB_iIT-YALVMmiHXsx8btvsZFQnouEwhcHwhiv6Qo7uSyZ2vcu8H3Pyr5FB4pfhfZWqQNyWmbpFjqf1a0vj-e8T5I26REQ9tAizTzHQUt3pw_5wAqMAP_8GUIvPZJQJgEpg4wINLtiMO2qGHG8_s2lg/s320/33B904EB-4BC9-4A14-849F-29E4640BC88A.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Carly and her cousin Molly tag team Julia in the bathroom at a bar. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0hXCgCOVzH59BlUplc-d5n8kVy6Y0ArFkmDgAYKMmk52ZEn2Qtkruk-9GS1L1-FXOh2CJQc-coKlSGoM_g2v5iEvMYa_tO9ukOLTim-dO5YijRLe9o1LSEHrvyrpYz6RVFQDAT0AepCiKdMRDepQJWsxXUAXwcSCh9JmZYSdnlPzHWpwwpLOXyFWa3g/s1125/FD16EB2D-F0DF-4B15-B60E-1AE073065925.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="865" data-original-width="1125" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0hXCgCOVzH59BlUplc-d5n8kVy6Y0ArFkmDgAYKMmk52ZEn2Qtkruk-9GS1L1-FXOh2CJQc-coKlSGoM_g2v5iEvMYa_tO9ukOLTim-dO5YijRLe9o1LSEHrvyrpYz6RVFQDAT0AepCiKdMRDepQJWsxXUAXwcSCh9JmZYSdnlPzHWpwwpLOXyFWa3g/s320/FD16EB2D-F0DF-4B15-B60E-1AE073065925.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jack sings a song beautifully for Julia and they win tickets to a hayride. </td></tr></tbody></table><p>Despite being married to police captain Hal Munson, a pregnant Carly follows Jack all over town, a feral cat in heat, determined to not let the man get over her. Of course, this involves bullying Julia whenever possible, making fun of her appearance and her “goody goody” attitude. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjILwxD1eHE7lwKDdQIxx-Tv8vI_Fs7vCL1Bn04sMJkRpfuVeQrX5-7SABC5uJHUzoZVZ-6TPo4A6_wtuwud6ZD42OcnJsQ4UzbT3kwYigMC4fm1_Y_IIkfc9DgdwB6M0JiacX-BuBp-Ba428dR3S-sd1rUmzh12sbIFUYzBai28fc8H8HzlJxLCgw/s1393/139711A5-29DF-47BF-A826-A14641F8EC40.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1393" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjILwxD1eHE7lwKDdQIxx-Tv8vI_Fs7vCL1Bn04sMJkRpfuVeQrX5-7SABC5uJHUzoZVZ-6TPo4A6_wtuwud6ZD42OcnJsQ4UzbT3kwYigMC4fm1_Y_IIkfc9DgdwB6M0JiacX-BuBp-Ba428dR3S-sd1rUmzh12sbIFUYzBai28fc8H8HzlJxLCgw/s320/139711A5-29DF-47BF-A826-A14641F8EC40.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">In a Bechdel passing scene (which happens in soaps occasionally), a fearful Camille (Lauren Martin) confides to Julia (Annie Parisse) about her breast cancer diagnosis. </td></tr></tbody></table><p>Camille Bennett pushes Julia into pursuing Jack. Simultaneously, Jack— who told Julia to give him space— pressures Carly to leave Hal— his boss and her husband. Later, however, Carly runs over Julia (who is waiting for Jack at the hayride) with her car and takes forever to call the ambulance. Jack finds her and believes his alcoholic brother Brad is responsible, not realizing it’s the object of his tormented obsession/stalker Carly. The next story is an overlong “who ran over Julia” as the woman wakes and struggles to remember who was yelling at her to wake up. Sigh. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHMTiENDUCM8J1T_xS7zHUFQRUAsfRFvVZ04Os7qW_Kqw5zU08b7d0FiTZ6MCNnvjamXnipT_KQJPZYVrjvmTrFNM9JN4aj3rqaxpRZBi60JYzaL6JruREskzgq5K-ibjFoldQWd-AyWbst5V8yrTII3Dmbrpvt3zL8MnvZgFQoB-s0xmFsd599rU/s1260/77DB72B5-E0F7-42AF-866B-D4A0E674970A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1260" data-original-width="1230" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHMTiENDUCM8J1T_xS7zHUFQRUAsfRFvVZ04Os7qW_Kqw5zU08b7d0FiTZ6MCNnvjamXnipT_KQJPZYVrjvmTrFNM9JN4aj3rqaxpRZBi60JYzaL6JruREskzgq5K-ibjFoldQWd-AyWbst5V8yrTII3Dmbrpvt3zL8MnvZgFQoB-s0xmFsd599rU/s320/77DB72B5-E0F7-42AF-866B-D4A0E674970A.jpeg" width="312" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Despite odds never to be in Julia’s favor, the Carly/Jack/Julia triangle was Must See Daytime for a while— until Julia’s surprise revisits became just as redundant as Sheila Carter returning to <i>Young & the Restless</i> and <i>Bold and the Beautiful</i>.</td></tr></tbody></table><p>Once Julia’s jealousy ignited her unhinged insecurity, she started therapy with Reid Hamilton— criminal mastermind James Steinbeck’s son David in disguise. Reid recommended that Julia leave Jack— which she did. Some great potential stories for Julia could have involved deepening her passion for journalism passion and browsing through jobs that lessened her contact with Jack and Carly. Surely, the Snyder farm did not take up the whole of the city. Maybe Lisa Hughes would have given the girl stories in another town. Perhaps in order to gain access to a juicy story, Julia risks her life and in the process finds someone new— someone who would nourish her heart. After all, in soap operas, only few women characters are allowed to be spinsters. Where is the passion and desire in singleness, especially as Julia is a gorgeous, dark-haired vixen with or without her eyeglasses?</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9sWNVy5sQU7f6kY6qPLEqWICjA-0gyXUhiDYYHXdNkPy1CJFCKpGDO9jiJKGjNHqyO66IT1NCsw1iiXuoRaO-8Hlc4V8sekPlqwNk-bnfDbyorGyTyyV8Ei7g6glvy9HKLZElQuXoC0upYDEHHtTeFtuzkB55EifYSFMJCXtHg4g2355MDhYBFiwazQ/s923/C0E22890-2FE0-490C-B739-4D575702A9F8.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="923" data-original-width="498" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9sWNVy5sQU7f6kY6qPLEqWICjA-0gyXUhiDYYHXdNkPy1CJFCKpGDO9jiJKGjNHqyO66IT1NCsw1iiXuoRaO-8Hlc4V8sekPlqwNk-bnfDbyorGyTyyV8Ei7g6glvy9HKLZElQuXoC0upYDEHHtTeFtuzkB55EifYSFMJCXtHg4g2355MDhYBFiwazQ/s320/C0E22890-2FE0-490C-B739-4D575702A9F8.jpeg" width="173" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">If only Reid Hamilton wasn’t a Steinbeck in disguise, maybe Julia would have gotten over Jack once and for all. </td></tr></tbody></table><p>Julia eventually fell for Reid and became engaged to him. Yet, the heart wanted what it wanted— a one sided love with a man who simply did not feel the same intensity. Sure, Jack married Julia, but he truly wasn’t invested in the commitment, wasting Julia’s time whilst desperately pining away for Carly. Julia became pregnant and lost her baby, the beginning of the end of her sanity. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMydzKffwleC8RFju5tlUE_3g9O38Qt7auULQiaL9KL7vLmuvj3Laav0DMulXVaU12ut41KI5BYJ5FC-eVWHkYpUkmQLrQQwFkwDiEa8dbQNWeCb12bj2JiepRfmhDUxObSWete4NDeygm5CPSzXLe56eMQ26ajPA_19N4RPvoD_ZnCmvhcLGTuM/s1241/FD51EBFC-49F3-4510-882C-120C31A54395.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1241" data-original-width="918" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMydzKffwleC8RFju5tlUE_3g9O38Qt7auULQiaL9KL7vLmuvj3Laav0DMulXVaU12ut41KI5BYJ5FC-eVWHkYpUkmQLrQQwFkwDiEa8dbQNWeCb12bj2JiepRfmhDUxObSWete4NDeygm5CPSzXLe56eMQ26ajPA_19N4RPvoD_ZnCmvhcLGTuM/s320/FD51EBFC-49F3-4510-882C-120C31A54395.jpeg" width="237" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">In this promo shot, Jack may be holding Julia’s hand, but Carly’s pressed against him— implying that she’s much closer to his heart than Julia ever will be. </td></tr></tbody></table><p>The writers probably had a field day coming up with scenarios to turn Julia worse than Carly, transforming a once good woman character into an unhinged man-obsessed rapist. Between forcing herself on a drugged Jack, trying to murder Carly, and stealing a newborn baby, Julia seemed more an evil twin than the original bespectacled train passenger. Then again, soap operas rely heavily on the interloper trope— the more extreme the better for example <i>Sunset Beach</i>’s <a href="http://femfilmrogues.blogspot.com/2020/04/saturday-soapy-flashback-sunset-beachs.html" target="_blank">Virginia Harrison</a>. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivieL4e_0mMXEpFwSv11HQasCs8rP5fDFMZcAbVjDzEj_2jvD0Th5DlKeepC3PcqTft4rG8-G73VcJ5TtJlqKrNThy5sUdkV6bGLt6M7_p0cQcckjwulnsTsXndLBn8X8xY-Rb0BJ9bAAIXO9bggwTpdQZqfOUbCQfoxl0QaLT0oep7mexjMUWCYg/s1310/51626CCB-96CD-4D24-A472-AA859B35DF2F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1310" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivieL4e_0mMXEpFwSv11HQasCs8rP5fDFMZcAbVjDzEj_2jvD0Th5DlKeepC3PcqTft4rG8-G73VcJ5TtJlqKrNThy5sUdkV6bGLt6M7_p0cQcckjwulnsTsXndLBn8X8xY-Rb0BJ9bAAIXO9bggwTpdQZqfOUbCQfoxl0QaLT0oep7mexjMUWCYg/s320/51626CCB-96CD-4D24-A472-AA859B35DF2F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A happier, healthier Julia. </td></tr></tbody></table><p>Julia’s portrayer Annie Parisse born Anne Marie Cancelmi, a thespian and graduate of Fordham University, was nominated for a Daytime Emmy Award in 2001. Parisse’s last return to <i>As the World Turns</i> in 2002 ended with Julia fleeing for Turkey. Since then Parisse has starred in <i>Law & Order</i>, <i>The Following</i>, and <i>Mrs. America</i> as well as several film and theater projects. Her next project is Michael Shannon’s <i>Eric Larue</i> co-starring with Alison Pill, Judy Greer, and real-life husband Paul Sparks. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWjh7lYXpqtg19i995D5F9w0RCcHAPBM8ZUqOLEx9hpLmwg6ZXV3iV3QBMcu2cPv581QlyiX22sds3tWbe0GYXwGi0xLJxoRa8YcNHZIorU9QGuFUptdohSkcio0fgdsscEyAPEiN_V2hl5QvJRF-pxlKsJuR2x_AOlTpfzjZPskG9nKmgyZLsMc3ppg/s1230/3F2C26BF-0916-4536-A0AC-FACDADEEB483.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="766" data-original-width="1230" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWjh7lYXpqtg19i995D5F9w0RCcHAPBM8ZUqOLEx9hpLmwg6ZXV3iV3QBMcu2cPv581QlyiX22sds3tWbe0GYXwGi0xLJxoRa8YcNHZIorU9QGuFUptdohSkcio0fgdsscEyAPEiN_V2hl5QvJRF-pxlKsJuR2x_AOlTpfzjZPskG9nKmgyZLsMc3ppg/s320/3F2C26BF-0916-4536-A0AC-FACDADEEB483.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Julia (Annie Parisse), Jack (Michael Park), Carly (Maura West), and Hal (the late great Benjamin Hendrickson).</td></tr></tbody></table><p>The downside of soap operas partially stems from lopsided depictions of women— often times overly exaggerated for extra dramatic impact, to have the audience root for the core suffering couple above all else. More often than not, the “rooting” couple can be beyond toxic as the case was for Jack and Carly. Julia Lindsay’s viciously assassinated character was sacrificed at the writer’s altar in order to prop up another woman just as morally corrupt. A police officer had to choose which of the evils he could live forever with. If only that bespectacled woman never departed the train to this stop: “welcome to insanity, population: you.” </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-52585110533043381542023-06-29T00:01:00.019-07:002023-07-01T00:12:51.840-07:00‘Veracity,’ An Impactful LGBTQ Short Film <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioytHd4KlSaaDVkINuRMRRhvyt4DsiStwqlJ7XY6iB7PFkienKXED76Ynhy12XlUuRPJLsJcSldJiJsFZqIC-v0qJgX01TLBtQlApEbMGL-F8zGljzQGA6T1jkzSelu1QKlPGkMy3ZqJ-8c7NoyP0kMBzo387zfkMEkVn1Ng2DWQhx2-2QBW2sdg-gFQ/s1478/0473F9AF-5A0A-4C02-888E-C9EA6C23BBC5.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1478" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioytHd4KlSaaDVkINuRMRRhvyt4DsiStwqlJ7XY6iB7PFkienKXED76Ynhy12XlUuRPJLsJcSldJiJsFZqIC-v0qJgX01TLBtQlApEbMGL-F8zGljzQGA6T1jkzSelu1QKlPGkMy3ZqJ-8c7NoyP0kMBzo387zfkMEkVn1Ng2DWQhx2-2QBW2sdg-gFQ/s320/0473F9AF-5A0A-4C02-888E-C9EA6C23BBC5.jpeg" width="217" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><a href="https://m.imdb.com/title/tt4756312/?ref_=nm_flmg_t_11_act" target="_blank">Veracity</a></i> film poster. </td></tr></tbody></table><br />Olivia learns the hard way that popularity can turn on a dime, especially in high school. It offers no protective shield against the early developmental stages of teenage homophobia— a condition that some will continue to latch onto in adulthood. Unfortunately, it has deep negative history in the Black community, that of which still exists today. <div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgolCxhmaJZSNTYVexfFaGEmnQy1fnbm0DjnZlethvxafvEcdEBFwI4kT0PzsiBKmXbqO8YXCHKzbns3xQkNWdhvDso_ozjP8DLENgVdiUMQOyHJu-57lmRR8NrIqhgdewv8au7j7eweP9Vj5PqoipfgS70c9jU9XBxAjdE1AHW2fHfy7n_09eApM51IA/s1964/CEBED8C4-FDEC-4920-B172-D76E1B7D80E4.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1964" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgolCxhmaJZSNTYVexfFaGEmnQy1fnbm0DjnZlethvxafvEcdEBFwI4kT0PzsiBKmXbqO8YXCHKzbns3xQkNWdhvDso_ozjP8DLENgVdiUMQOyHJu-57lmRR8NrIqhgdewv8au7j7eweP9Vj5PqoipfgS70c9jU9XBxAjdE1AHW2fHfy7n_09eApM51IA/s320/CEBED8C4-FDEC-4920-B172-D76E1B7D80E4.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Olivia (Kiki Layne) performs her monologue in drama class. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgghlZgOZ4YxiwS1SVadNhUoT6kew_UbRRWuBD_PNJAb5o0wDw1TryLwW-wzbdrVImbofnvGAd6fWiWunAUa8AtLo8pVmLKRNOVpbbCS7GnbNGldELDwmDTsglsqXwBOPdZam15EtoDT-KPQDFWBzT8jaW4KM2THIaLfYpJMsKab91Tnr0BPsVSe6tjuQ/s1806/A84E9F14-1ED0-43BF-95C9-944DD28770E0.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1806" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgghlZgOZ4YxiwS1SVadNhUoT6kew_UbRRWuBD_PNJAb5o0wDw1TryLwW-wzbdrVImbofnvGAd6fWiWunAUa8AtLo8pVmLKRNOVpbbCS7GnbNGldELDwmDTsglsqXwBOPdZam15EtoDT-KPQDFWBzT8jaW4KM2THIaLfYpJMsKab91Tnr0BPsVSe6tjuQ/s320/A84E9F14-1ED0-43BF-95C9-944DD28770E0.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Carolyn (Christina Harper) begs Olivia (Kiki Layne) to attend James’s party with her, saying that only with Olivia can Carolyn receive entry. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><br /><div><i>Veracity</i> highlights the super quick turnaround Olivia faces after she’s discovered kissing the new student Imani, a quiet, isolated girl kicked out of her old school for the very thing Olivia is suddenly ostracized for. Carolyn, the best friend character immediately removes herself as Olivia’s sidekick, becoming instead a fellow instigator. </div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlmkJ3sB9KhEQwOvuyOHc2ycW_YAnei4onGErB7UoLbvLS7cZ_-pzKDj5eD-aQ-oUAT2zEeKNptnxPjdIGRf0NX-goFKkwjlz-GzYBG-_CMbl46ucgMoV39LNC2suzEmwbuGjToHOsjluXLQU26DRXWd2-3nI1238SPlzfvEObHOPu2RwK5ojGGBQRw/s1770/EBFF6B55-20B2-4D35-A137-16A5518DB122.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1770" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlmkJ3sB9KhEQwOvuyOHc2ycW_YAnei4onGErB7UoLbvLS7cZ_-pzKDj5eD-aQ-oUAT2zEeKNptnxPjdIGRf0NX-goFKkwjlz-GzYBG-_CMbl46ucgMoV39LNC2suzEmwbuGjToHOsjluXLQU26DRXWd2-3nI1238SPlzfvEObHOPu2RwK5ojGGBQRw/s320/EBFF6B55-20B2-4D35-A137-16A5518DB122.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Olivia (Kiki Layne) is very much intrigued by the new transfer in her drama class Imani (Shea Vaughan-Gabor). DP: Tommy Maddox-Upshaw.<br /><br /></td></tr></tbody></table></div><div>At James’s house party where lots of underage drinking happens, Olivia is assaulted by James. Yet, no one seems to care about it. She even brushes it off and warms him that his advances remain unwanted. Instead, Olivia finds out Imani lives there. Since unsuccessful at getting the quiet girl to enjoy the party backfires, the two watch television together. A tickling session becomes a full out passionate session which is then rudely interrupted, causing a huge humiliation for both Olivia and Imani. Everyone is so comfortable seeing James kiss on Olivia without her consent, but two girls making out because they want to disgusts their young impressionable minds— minds that are conditioned to only be okay with heteronormativity. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDvtOT3C4tJEBiRI8DQXv8aw4Yx8fUDvxgnrX_UHOMs9Oh8QMhNxz5qvE7w8Jpb0t77v8wXZsSGBRTlJ6LP1_2CjuxjM4L_xJm_mi76Kq5rPdjOto2Fve6Zd0VHHdHJDM8VwPLIX6uhFyOQPBwezB2y1OvDXPcrftcr1DP3FiQntffWSs09uSFAh-3Ew/s1923/45151EBA-8B62-49F5-82CC-C0141B2C33A2.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1923" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDvtOT3C4tJEBiRI8DQXv8aw4Yx8fUDvxgnrX_UHOMs9Oh8QMhNxz5qvE7w8Jpb0t77v8wXZsSGBRTlJ6LP1_2CjuxjM4L_xJm_mi76Kq5rPdjOto2Fve6Zd0VHHdHJDM8VwPLIX6uhFyOQPBwezB2y1OvDXPcrftcr1DP3FiQntffWSs09uSFAh-3Ew/s320/45151EBA-8B62-49F5-82CC-C0141B2C33A2.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Olivia walking through the hallways, feeling the repercussions from the party. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><p>The heart of the matter is that growing up many Black parents/guardians teach the values in respecting racial differences/backgrounds. The later sexual talks (uncomfortable as they are) only focus on heteronormativity. Thus, when queerness comes, everybody is appalled, unprepared to react accordingly. Parents will abandon their children, even disown if they’re not “acting normal.” There can be no celebration when there’s little understanding and lack of empathy. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRrswZg1HrSdsz8Bienqbl_8dbrFMA9t7SSNcrBbmDoLaaSdlgW-dgVFTlCT6nM3DLGxuVSIPkl5W03FKgUbgi8meeoEbcNukHs61_nxNDYsJSqiwtDMiW8TExSI5y9ICXM8AMF6GP1L0hIMafwAwho1WpzNUGeQMvp--61W1h5XGkREKTqz58Ng987A/s1866/B0E2D966-A8B7-46A4-9ACB-C09A3FEC166F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1866" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRrswZg1HrSdsz8Bienqbl_8dbrFMA9t7SSNcrBbmDoLaaSdlgW-dgVFTlCT6nM3DLGxuVSIPkl5W03FKgUbgi8meeoEbcNukHs61_nxNDYsJSqiwtDMiW8TExSI5y9ICXM8AMF6GP1L0hIMafwAwho1WpzNUGeQMvp--61W1h5XGkREKTqz58Ng987A/s320/B0E2D966-A8B7-46A4-9ACB-C09A3FEC166F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Imani coldly informs Olivia that before she was kicked out of her old school, she had a girlfriend and received consequences for it including expulsion. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2GnlIRjLzvXVm0enpxm39W_MpuTqe3xVtPe1q1d2HzbimtjWRXjsj-3lPgO9ukXJqJZB0aLXbDYTvBa3kaMhk6qdnEgSjswFBw874X5K5Clz1HGM_pNj8rTBYb0qxNxZkfZdzZqqGcsx56hyFui2rtWimsaKYtiK3p8aygydZsqs2fg4aHvoMGD9Jg/s1962/B92B9BDF-5256-44F2-9E31-DE3C476F8B44.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1962" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2GnlIRjLzvXVm0enpxm39W_MpuTqe3xVtPe1q1d2HzbimtjWRXjsj-3lPgO9ukXJqJZB0aLXbDYTvBa3kaMhk6qdnEgSjswFBw874X5K5Clz1HGM_pNj8rTBYb0qxNxZkfZdzZqqGcsx56hyFui2rtWimsaKYtiK3p8aygydZsqs2fg4aHvoMGD9Jg/s320/B92B9BDF-5256-44F2-9E31-DE3C476F8B44.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Olivia makes the girl’s bathroom her escape place. DP: Tommy Maddox-Upshaw. </td></tr></tbody></table><p>With award-winning actress Kiki Layne in a stellar debut as Olivia, brilliantly directed by Seith Mann, and bravely written by Janaya Greene (who wrote the screenplay during her senior year of high school), <i>Veracity</i> could have easily transformed into a full-length feature, a perfect companion piece to dee rees unforgettable <i>Pariah</i>— a film that came out three years prior which also started as a short. <i>Veracity</i> touches on significant changes the outcasted Olivia undergoes in order to put her mental health on a good path— attending support group and compromising with Imani that she is there to be a friend, not necessarily form a romantic relationship.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpfuU7BieUMymF4lSbDgYhDA57wo-0RQOUXZq9AbE0vi-9012ZVWAyXxH0Wc2AjR19lTs1IOE3QGvrQRSRihxP6k4zqFUww4-5rG-RWSxq5HF7SM14OMNB-6hZ_VTJ6PqEc4UrcO-R6Bva2NXbwnVPZGnTGHXhSpltI9D4PQ_TYV0N5gNTTy9E1zHnQ/s1918/1615D7CC-2316-46A6-B886-60F0289FECEC.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1918" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpfuU7BieUMymF4lSbDgYhDA57wo-0RQOUXZq9AbE0vi-9012ZVWAyXxH0Wc2AjR19lTs1IOE3QGvrQRSRihxP6k4zqFUww4-5rG-RWSxq5HF7SM14OMNB-6hZ_VTJ6PqEc4UrcO-R6Bva2NXbwnVPZGnTGHXhSpltI9D4PQ_TYV0N5gNTTy9E1zHnQ/s320/1615D7CC-2316-46A6-B886-60F0289FECEC.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Another student offers Olivia a positive outlet. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqQ06ZgMgMU_Pv-fxTKW8NuITbXdR7Yk67XYRtnfiENap5bql6kQiMJM0t-d1RovdoVlk6MAT5tGx4ALX17BAiMC3kwMxmqHRGpJ7w2e2hdinknc9VThQVg4LTfCqkKJ8qKJf3DrcL6FjNawUJmCfRC3KEVyI4drXmzYbGfqRfSa8KyGPRbNr81XQlCA/s1891/B47D7CC7-95B8-47C4-84E9-F8D0B9249246.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1891" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqQ06ZgMgMU_Pv-fxTKW8NuITbXdR7Yk67XYRtnfiENap5bql6kQiMJM0t-d1RovdoVlk6MAT5tGx4ALX17BAiMC3kwMxmqHRGpJ7w2e2hdinknc9VThQVg4LTfCqkKJ8qKJf3DrcL6FjNawUJmCfRC3KEVyI4drXmzYbGfqRfSa8KyGPRbNr81XQlCA/s320/B47D7CC7-95B8-47C4-84E9-F8D0B9249246.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A man shares his story about falling for his teammate, losing that friendship, and being disowned by his mother. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivk8qGuExhFQXp8M8c_-JCsTVF5mIO6SOMeTkMkIbSMem_E3f3AhLnyrDvN0YHK8OMJ5kYPCqrKxMDwn68eNaNzfH5YPE7EVSn08Y22ZDJxMkeT3jBcnfuDGdW7ijMuNkm1gNQe5j_wC9NpksV-1hQ7vkmpwtUlRzXeTwplKiNTv3c8MIGWNy_rSh_1g/s1969/E11A1CF8-700B-4886-BBB1-1253EC67C54F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1969" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivk8qGuExhFQXp8M8c_-JCsTVF5mIO6SOMeTkMkIbSMem_E3f3AhLnyrDvN0YHK8OMJ5kYPCqrKxMDwn68eNaNzfH5YPE7EVSn08Y22ZDJxMkeT3jBcnfuDGdW7ijMuNkm1gNQe5j_wC9NpksV-1hQ7vkmpwtUlRzXeTwplKiNTv3c8MIGWNy_rSh_1g/s320/E11A1CF8-700B-4886-BBB1-1253EC67C54F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Olivia is moved by the story, perhaps seeing the commonality in her own present. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><p><i>Veracity</i> deserves immense love and flowers for bringing awareness to the issues LGBTQIA+ teenagers experience on top of trying to get an education. They have to survive daily bullying from their peers at school and whatever exists at home— that’s stacked pressure weighing on their vulnerable impressionable minds often leading to self-harm. Imani definitely presents the identity struggle, contemplating doing the unthinkable as events continue escalating for her, her own cousin disgusted by who she is. Although it is unclear what Olivia endures in her home life, she no longer has to channel her lesbianism alone and neither does Imani. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOFDOc_xc25uusrcfTsivy_hLjcZdKTFYBVP_J4ZfM8a4nyMYk60G5nfCNYGGVCzO9gmRrbMgkAupUDGEZGh7ZSoIQn8Hf_HamiMkVjGMMfnUaSDQL-usi1k8_Ca4jkuX-CTpA_eWR-sgepfPdDXiqgLZZmF28fwFGEKHtXKZTmAO3v2EksGa_5zL0wg/s1708/4A54C288-1C6A-43A3-A063-AD022BADCFC2.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1708" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOFDOc_xc25uusrcfTsivy_hLjcZdKTFYBVP_J4ZfM8a4nyMYk60G5nfCNYGGVCzO9gmRrbMgkAupUDGEZGh7ZSoIQn8Hf_HamiMkVjGMMfnUaSDQL-usi1k8_Ca4jkuX-CTpA_eWR-sgepfPdDXiqgLZZmF28fwFGEKHtXKZTmAO3v2EksGa_5zL0wg/s320/4A54C288-1C6A-43A3-A063-AD022BADCFC2.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">So Carolyn doesn’t need Olivia around to get into James’s good graces. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNMLWkdq8zuFC_I1vMpnfGeBlg_wKSPt4r9R8peZxYRj4CKWAMm3ASp8XBe0ARSozxT5McSNvpAtz3GcsHJU_D2U-dPrkALmOAhmH4rKRxaTOJKOo9iyJRD9u9gb0xAPTyjx4w6cCdhX-1nct_KSNw1wHiK3-W015177JV-ajLnetvudyWjynvBhYuSg/s1848/6B1A1E4A-8154-49FE-BB7B-26FF99FAE7CC.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1123" data-original-width="1848" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNMLWkdq8zuFC_I1vMpnfGeBlg_wKSPt4r9R8peZxYRj4CKWAMm3ASp8XBe0ARSozxT5McSNvpAtz3GcsHJU_D2U-dPrkALmOAhmH4rKRxaTOJKOo9iyJRD9u9gb0xAPTyjx4w6cCdhX-1nct_KSNw1wHiK3-W015177JV-ajLnetvudyWjynvBhYuSg/s320/6B1A1E4A-8154-49FE-BB7B-26FF99FAE7CC.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Imani contemplates the tragic way out. DP: Tommy Upshaw-Maddox.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2U6-aB6kKDjocdQb6Ba5SlxKNpIIL8GwAKFbQtUbiUdmKQBGivU-d8RVqKIiPzn6k0pQkC7029yYZCEcouPBVIeGBZsWkNrME6-Tx_EkCWtJGqkp20GgBb2kX0fZ9hHhqiCQEzrLpuWG8Hz2Mo6PqOF4QSWnzjhu3VcGnpmlr41WYQijftKLS0E07Jw/s1942/68433869-BA69-42A3-8A0C-36116329BEFD.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1942" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2U6-aB6kKDjocdQb6Ba5SlxKNpIIL8GwAKFbQtUbiUdmKQBGivU-d8RVqKIiPzn6k0pQkC7029yYZCEcouPBVIeGBZsWkNrME6-Tx_EkCWtJGqkp20GgBb2kX0fZ9hHhqiCQEzrLpuWG8Hz2Mo6PqOF4QSWnzjhu3VcGnpmlr41WYQijftKLS0E07Jw/s320/68433869-BA69-42A3-8A0C-36116329BEFD.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Often, a hug can bring the most beneficial source of comfort— something of which the quiet Imani needed from Olivia. DP: Tommy Maddox-Upshaw.</td></tr></tbody></table><p>From beginning to the powerful end, <i>Veracity</i> showcases that there is love and care— a supportive community waiting— to all those who are undergoing traumatic consequences for being different. This solid short film is available to view on YouTube as part of the Scenarios USA series. </p></div></div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-61957975534975408902023-06-21T07:35:00.001-07:002023-06-21T07:37:50.244-07:00May 2023 Film Watches<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggV3izCFd7AyzMuesYg4Xydy0vr3S3zM7LbOzEbu1iWR1JaMAh7kMNmFKl0vLRxPeZUWZZE37r3PwInGFxARaShNGT-2H6TqSx2UsFz_9_XJ6s6ULOCCn16WyqbzMJOdoRNpSPz7Q_r-00vuT3pbHILjETub8WM9UEwmVkWe4JZ0PZ145nE5BfOUp0wQ/s360/FB8F6B6C-7E95-4E4D-9128-821F629F91F5.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="270" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggV3izCFd7AyzMuesYg4Xydy0vr3S3zM7LbOzEbu1iWR1JaMAh7kMNmFKl0vLRxPeZUWZZE37r3PwInGFxARaShNGT-2H6TqSx2UsFz_9_XJ6s6ULOCCn16WyqbzMJOdoRNpSPz7Q_r-00vuT3pbHILjETub8WM9UEwmVkWe4JZ0PZ145nE5BfOUp0wQ/s320/FB8F6B6C-7E95-4E4D-9128-821F629F91F5.jpeg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Alima Satouka plays a woman determined to pay for her daughter’s schooling by independent means in <span style="text-align: left;">Fanta Régina Nacro‘s <i>Bintou</i>.</span></td></tr></tbody></table><br /><p></p><p>May saw a slight decline in film watching. A few treasures in the Criterion Channel included Andrew Lau and Andy Mak’s acclaimed <i>Infernal Affairs</i> trilogy, the work of the late Kayo Hatta (her <i>Picture Bride</i> film is on Hoopla), a queer sci-fi futuristic film by Michelle Parkerson, and the shorts of the first woman filmmaker based in Burkina Faso: Fanta Régina Nacro. </p><br />May 2023 Film Watches <br /><br />1.) “Persuasion” (1995) Roger Mitchell # 7.5/10<br /><br />2.) <a href="http://femfilmrogues.blogspot.com/2023/05/nightwatcher-greatest-vulnerabilities.html?m=0" target="_blank">“Nightwatcher”</a> (2018) Amira Hasib #^= 9/10<br /><br />3.) “Secretary” (2002) Steven Shainberg # 3.5/10<br /><br />4.) “Cinderella” (2000) Beeban Kidron #* 2.5/10<br /><br />5.) “Odds & Ends” (1993) Michelle Parkerson #*+ 9.5/10 <br /><br />6.) “Infernal Affairs” (2002) Andrew Lau & Adam Mak #^ 9/10<br /><br />7.) “Picture Bride” (1995) Kayo Hatta #*^ 8/10<br /><br />8.) “Chinese Odyssey” (2000) Jeffrey Lau #^ 7/10 <br /><br />9.) “A Certain Morning” (1992) Fanta Régina Nacro #*+ 8/10 <br /><br />10.) “Misbehavior” (2016) Kim Tae-yong #^ 3/10<br /><br />11.) <a href="http://femfilmrogues.blogspot.com/2019/08/middle-of-nowhere-is-underrated-classic.html?m=0" target="_blank">“Middle of Nowhere”</a> (2012) Ava DuVernay *+ 10/10<br /><br />12.) “The Little Mermaid” (1989) John Muskers and Ron Clements 7/10<br /><br />13.) <a href="http://femfilmrogues.blogspot.com/2023/05/the-little-mermaid-review.html?m=0" target="_blank">“The Little Mermaid”</a> (2023) Rob Marshall # 6.5/10<br /><br />14.) “Internal Affairs II” (2005) Andrew Lau & Adam Mak #^ 8.5/10<br /><br />15.) “Otemba” (1988) Kayo Hatto #*^ 9/10 <br /><br />16.) “Bintou” (2001) Fanta Régina Nacro #*+ 10/10 <br /><br />17.) “Eriko, Pretended” (2016) Akiyo Fujimura #*^ 8/10<br /><br />18.) “The Bedroom Window” (1987) Curtis Hanson # 3.5/10<br /><br />19.) “Puk Nini” (1996) Fanta Régina Nacro #*+ 10/10 <br /><br />20.) “Konaté’s Gift” (1997) Fanta Régina Nacro #*+ 9.5/10 <br /><br />21.) “I Will Follow” (2010) Ava DuVernay *+ 9/10<br /><br />22.) “Memoirs of A Geisha” (2005) Rob Marshall 7/10<br /><br />23.) “As I Open My Eyes” (2015) Leila Beyhid #^ 9/10<br /><br />24.) “Internal Affairs III” (2005) Andrew Lau & Adam Mak #^ 8.5/10<div><br /></div><div><br /><br /># first time watch <br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />*^ nonwhite woman filmmaker <br /><br />^nonwhite filmmaker <br /><br />= biracial filmmaker <p class="p1" style="-webkit-text-size-adjust: auto; font-size: 15px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-family: UICTFontTextStyleBody;"><br /></span></p>Other notes: 20 first time watches, 17 films directed/written by nonwhite filmmakers, and 12 films made by women.</div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-52737824954196860222023-05-29T17:10:00.001-07:002023-05-29T17:10:36.671-07:00‘The Little Mermaid’ Review<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmV4mdQlAHnbRT5DBCvXQrERbirdjbFwyxRSkQqWjwd5xujHEeEcbGDVR2JhWmRgxZFKtdWTEBbzymzuAP3UCqbU1adUUNC8Wup8bsFFcakr84Pe7_EolW99_wsLMYJBIQ2IKkqXGg7QUx3HCxa4fHPbo7GNGUbCR86ywpzUl_XeLFGXOoDTWV-LU/s1185/B8C414C7-6A3B-44E2-A71C-F189A88BE5EA.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1185" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmV4mdQlAHnbRT5DBCvXQrERbirdjbFwyxRSkQqWjwd5xujHEeEcbGDVR2JhWmRgxZFKtdWTEBbzymzuAP3UCqbU1adUUNC8Wup8bsFFcakr84Pe7_EolW99_wsLMYJBIQ2IKkqXGg7QUx3HCxa4fHPbo7GNGUbCR86ywpzUl_XeLFGXOoDTWV-LU/s320/B8C414C7-6A3B-44E2-A71C-F189A88BE5EA.webp" width="216" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Little Mermaid</i> film poster.</td></tr></tbody></table><p></p><p>When I was a child, I snuck off in the bathroom and cut off the brilliant red hair of my little sister’s Ariel, a cruel act of revenge. Our dolls were mainly generic and her Ariel was the most famous, a mermaid with her own Disney film, the best of the story tapes we repeatedly played on the cassette tape player (for our household had no VHS’s). Thus, immediately after I saw the new live-action on a Wednesday afternoon, I reread Hans Christian Anderson’s original classic immediately on the bus ride, anxious to perhaps rid myself of the startling disappointments. I imagined Anderson’s darker tale depicted on the big screen— the girl awaiting her turn to see the above world like her sisters, her painful dancing bargain exchange, her sisters also giving up their valued hair to the sea witch, and the final plea to kill the prince just so the girl could return to the sea— so much fascinating horror all for the sake of harrowing desire. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIy3xHSDubowu3HIygS8jmHx_DvWPduJuN7sLgycMEBOiuakju18ib-JTsv_jteoljNZivvKShLKoxZo2P0AwZsvYZ1_V7wEmjzxofsDazKiSzjrfCgdWx17MFAYQ-c6Z_9TdZuQo0ATDxbTbM6VMo0a8yy70zd_3GSDX9CZy1FUH0umMWRgHXjY/s1280/39B320D7-D02F-411C-80E6-C73DA9BB0C9D.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIy3xHSDubowu3HIygS8jmHx_DvWPduJuN7sLgycMEBOiuakju18ib-JTsv_jteoljNZivvKShLKoxZo2P0AwZsvYZ1_V7wEmjzxofsDazKiSzjrfCgdWx17MFAYQ-c6Z_9TdZuQo0ATDxbTbM6VMo0a8yy70zd_3GSDX9CZy1FUH0umMWRgHXjY/s320/39B320D7-D02F-411C-80E6-C73DA9BB0C9D.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ariel (Halle Bailey) under a seemingly waterless sea. DP: Dion Beebe. </td></tr></tbody></table><p>In Rob Marshall’s Disney adaptation (the same director of <i>Chicago</i> and <i>Memoirs of a Geisha, </i>shot by Oscar winning cinematographer Dion Beebe), Halle Bailey leads an otherwise poorly made ode to the 1989 animated film— which had the audacity to open with an Anderson quote. Bailey’s take on Ariel is the most convincing of the new cast, a young mermaid naturally curious about the entirety of the world, a collector of unique objects despite learning their meanings from the wrong sort of creature— and with a voice that carries resplendent notes through and through. Of course, anyone would want to capture that lilting sound and make it their own. Innocence, charm, and sweetness are very irresistible character traits and her gorgeous honey brown locs are a unique signifying force. Ariel is unfortunately bogged down by her main screen partners: the terribly designed Flounder and Sebastian (not a lobster, instead a googly eyed crab that must have escaped a parallel universe of <i>Everything, Everywhere All At Once</i>). Also, Scuttle is downright garbage. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlhAJkAlVoWqkQGpCzVWmSHM8HBML77q-cF5gSu1eK2KjIXEGYiPYrnNTcrH9Ff4gcLGqu4Suj3PyPgptc2hlZj9HCk3spbcG9xNjLXa7WJ9W7epJUwgblyjITQ97xNfYGoaafyBom1SpQSNkgOu2GiUQE8wua2X_nH1Bp-J3m71iGzZgjDnhAUis/s1200/6C2807BC-D399-44B6-8B14-2E6EB362B899.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlhAJkAlVoWqkQGpCzVWmSHM8HBML77q-cF5gSu1eK2KjIXEGYiPYrnNTcrH9Ff4gcLGqu4Suj3PyPgptc2hlZj9HCk3spbcG9xNjLXa7WJ9W7epJUwgblyjITQ97xNfYGoaafyBom1SpQSNkgOu2GiUQE8wua2X_nH1Bp-J3m71iGzZgjDnhAUis/s320/6C2807BC-D399-44B6-8B14-2E6EB362B899.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Flounder: sometimes you gotta smile to keep from crying and/or cringing. <br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01_yZf5aXjzJ8UQKmqvBEy-LJjFhwd4xOBohtX56sQ0soaGu0KIaoupalHKiLTIsMMYqQquN2EsBzOtsscO2ftcK1PSTYvx9OHay3As1yFl61BFqhRicHWCsTDUOE9mOc5ITnjf_Xh9W0PxGnO3fa1DjZQATpPNAeWWYb3TJt3_S8oK5_YV7W3II/s1162/BF2BFAA0-5BDE-4C62-8E37-5A8859B12AC5.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="654" data-original-width="1162" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg01_yZf5aXjzJ8UQKmqvBEy-LJjFhwd4xOBohtX56sQ0soaGu0KIaoupalHKiLTIsMMYqQquN2EsBzOtsscO2ftcK1PSTYvx9OHay3As1yFl61BFqhRicHWCsTDUOE9mOc5ITnjf_Xh9W0PxGnO3fa1DjZQATpPNAeWWYb3TJt3_S8oK5_YV7W3II/s320/BF2BFAA0-5BDE-4C62-8E37-5A8859B12AC5.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sebastian: horrifying.</td></tr></tbody></table><p>The sisters, however, were mere cameos— introduced by King Triton himself on high throne chairs in a lackluster scene that looks suspended in an outdated Windows backdrop. The animated version had the hyped girls singing “we are the daughters of Triton” during a lavish, heavily attended party. Here, the ladies representing each of the seven seas sit quietly, looking at their father as decorative objects more so than women with differing personalities. Where is the joy in the sea life? The thrills? The other merpeople? You would think that a two plus hour runtime would grant them a say, but then we wouldn’t have gotten Prince Eric or Scuttle’s awful songs. Also, King Triton shows obvious favoritism (and possessiveness) in regards to Ariel— this happens a lot in family structures, the youngest often being the apple of the parent’s eye. Yet, King Triton’s overbearing nature always seems a bit too… trifling? </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrlWoIdtdrPtAWdAqnMfL5ZKQ0OLXGMJ9F8hRO-tN7Fhn4LtcyupFMMuzzZ3ks--BXxmYkETY8sE7aw0nD2svvgnC2WHIYf0K2Q0slPWS1mjWDapDjEL5KBdqeasE9-tttkfW8mZ26aMIYSpEr2lViFVIylwQ1eEFZ3HJU6GHh8M_GmrF372nQLxU/s1296/0C44CEAC-7198-42FA-984A-678E550C932A.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="730" data-original-width="1296" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrlWoIdtdrPtAWdAqnMfL5ZKQ0OLXGMJ9F8hRO-tN7Fhn4LtcyupFMMuzzZ3ks--BXxmYkETY8sE7aw0nD2svvgnC2WHIYf0K2Q0slPWS1mjWDapDjEL5KBdqeasE9-tttkfW8mZ26aMIYSpEr2lViFVIylwQ1eEFZ3HJU6GHh8M_GmrF372nQLxU/s320/0C44CEAC-7198-42FA-984A-678E550C932A.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ariel belts out an incredible <i>Part of Your World</i> reprise after saving Prince Eric from drowning. DP: Dion Beebe.</td></tr></tbody></table><p>Apparently the sea is dull and the strict rules equals no fun. Anyone would want to escape. Plus, honestly, the above the surface shots are far more believable than the watery depths below. Ariel should be applauded for leaving such dreariness behind in order to obtain the feet that don’t hurt her. Her spellbound wonder for the majestic fireworks (probably most of the film budget) and even petting the shaggy Max are lovely touches of her affectionate nature. Despite mermaids being forbidden to interact with humans, Ariel’s longing to understand them (more importantly Prince Eric) is a universal belief akin to those of us who have a specific desire in life. Ariel’s private grotto mirrors an art collector’s trove later seen in Prince Eric’s library, even Ursula’s realm. Again, King Triton’s treasures are his daughters with one most preferred. </p><p>We don’t talk enough about King Triton’s abuse— him destroying Ariel’s organized hoarding piece by piece would encourage even the kindest daughter to never return to someone that cruel. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkLn29gJpWNA1ZIY26LJNxtfL7qP5PufGVuFFR6zxUO2SVSA1YOrqdrueGxhtKFDvRPww8_wPsn1AfgWPrkTt3QuGTGN1ntc4sweW6gcvtxMv2iKoZbS0XRMqRQgMbC3BkICyTNsSdHJZsXHd-w5yThAqSaVRNG1fUZKG74rxW5h-T7--uE-lkro/s1500/BEA26A8B-7AF2-4042-9E4D-932AFBC90B3B.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="875" data-original-width="1500" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkLn29gJpWNA1ZIY26LJNxtfL7qP5PufGVuFFR6zxUO2SVSA1YOrqdrueGxhtKFDvRPww8_wPsn1AfgWPrkTt3QuGTGN1ntc4sweW6gcvtxMv2iKoZbS0XRMqRQgMbC3BkICyTNsSdHJZsXHd-w5yThAqSaVRNG1fUZKG74rxW5h-T7--uE-lkro/s320/BEA26A8B-7AF2-4042-9E4D-932AFBC90B3B.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ursula entices her niece (eye roll) with an offer she cannot refuse. DP: Dion Beebe.</td></tr></tbody></table><p>As Melissa McCarthy’s Ursula did her best nod to the late Pat Carroll, Queen Latifah came to mind, especially Marshall having directed that splendid <i>Mama’s Been Good To You</i> number in <i>Chicago</i> (that should have gotten her the Oscar win). Awful choice to make Ursula and King Triton siblings. Why even? Worse, Ursula puts an amnesia spell on Ariel— so the poor girl doesn’t remember that Prince Eric must kiss her by the third day. </p><p>Jude Akuwudike of the incredible <i>Eyimofe (This Is My Desire)</i> cameos as the fisherman who finds the newly limb-ed Ariel in his net and takes her to the palace at once. There, she sees Prince Eric again and they share an intense eye exchange, but he’s convinced that she is not his savior. Later, a downtrodden Ariel takes a bath— in more pretty scenes that demonstrate the look and feel of water. Sebastian arrives in her window, determined to help her fall in love, possibly feeling guilty for King Triton’s severe punishment, then again this isn’t conveyed quite clearly. A charmed Ariel wanders about the castle, well adjusted to walking and racing about on her new legs. For that, a viewer is easily swayed by her happiness and enthrallment, her captivation of human nature. The best moments are contained in Ariel’s delight— played beautifully by Bailey. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlqas-WE5JPycqB4Ts5HcDSmp0CM-t717TngPX1j0hRvYEjNdKGnsZw3up1rOCt5UKtxnGUr-AwkxM4z9MzoTbtUT9xtp04XeRBX10cZUf9MTwzshR_3tWcuf51XeIg_Bf3Gt0v7lPcRViEiA7Mc7mHtzd3-h0PbGzmmM4phOQtBELfZxvwNzE3Jg/s1884/712DF7BB-FD72-497C-96F9-501BC5423B32.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1478" data-original-width="1884" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlqas-WE5JPycqB4Ts5HcDSmp0CM-t717TngPX1j0hRvYEjNdKGnsZw3up1rOCt5UKtxnGUr-AwkxM4z9MzoTbtUT9xtp04XeRBX10cZUf9MTwzshR_3tWcuf51XeIg_Bf3Gt0v7lPcRViEiA7Mc7mHtzd3-h0PbGzmmM4phOQtBELfZxvwNzE3Jg/s320/712DF7BB-FD72-497C-96F9-501BC5423B32.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ariel looks around Prince Eric’s majestic library. DP: Dion Beebe.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJmzP2c62jHKhvBim8zlHXfZSNrxlpP8hI1qTHpG1ITut3MFPZoFxywmiIf6jZNTf1bV61dF2d-ijc2YL2AOtQYnSEEZPFcu03_f1kbrVdmX9bYIIzlONXJzsMfC1rsnBM30Vh3jSWVeeWm5TPunqaTtVzlWoXerVTRgA5TICDY-xCkoiDZQLxlhY/s907/B5C7E378-EE6B-4DE6-A872-5B5C21472F24.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="605" data-original-width="907" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJmzP2c62jHKhvBim8zlHXfZSNrxlpP8hI1qTHpG1ITut3MFPZoFxywmiIf6jZNTf1bV61dF2d-ijc2YL2AOtQYnSEEZPFcu03_f1kbrVdmX9bYIIzlONXJzsMfC1rsnBM30Vh3jSWVeeWm5TPunqaTtVzlWoXerVTRgA5TICDY-xCkoiDZQLxlhY/s320/B5C7E378-EE6B-4DE6-A872-5B5C21472F24.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">While the other princesses have their men reflect them, for specifically Black and biracial women, Disney has a history of not finding them a Black Prince. This began in its 2009 animated adaption of <i>Princess and the Frog</i>. They’re still not ready to depict the soft Black boys/men that Barry Jenkins and Ryan Coogler bring to life.</td></tr></tbody></table><p>Ever since reading a review calling Prince Eric a Himbro and looking up the meaning, it cannot be un-remembered. They tried to make Prince Eric a worldly, adventurous sort in a time of colonialism, but he really represents the same regurgitated formula as the other white Disney princes— blue eyed measure of attractiveness, desired rebelliousness from a privileged status, and little else. Well, Ariel if this is whom you want to flip your fins for, have at it. Interesting too, on this Caribbean influenced island that a Black Queen chooses to adopt a white child, seemingly the only baby ever to be put in this vulnerable position, the only to melt the queen’s heart. Okay. </p><p>Ursula sees that Prince Eric is actually falling for the quiet, intelligent Ariel and ups the ante by disguising herself as the young slim Vanessa. They treat us to a godawful rap song as Scuttle’s dumb way of congratulating Ariel who sadly learns Maury Povich style that she is not the intended bride. Instead of a sunset wedding sailing away on a boat, Prince Eric has an engagement party overlooking the majestic sea. Scuttle again delivers news to Ariel sans that amazing line “she was singing with a set of stolen pipes.” Afterwards, fighting, shock, fighting, sacrifice, and finale fighting. The change to the victory may be a testament to Ariel not representing a damsel-in-distress, but man, Strong Black Woman trope came to sea us. </p><p>Other notes: always found it an intriguing matter that in both the animated and live version, the mermaids understand and can speak English, but cannot write— which could have saved Ariel a lot of trouble. Anderson’s story is stronger because you do get the sense that the mermaid’s only language for the Prince is dancing. When King Triton returns to solid form after Ursula’s demise, the impact loses something because it is only him. None of the other poor unfortunate souls come back to fruition. Why did King Triton not give Ariel a new glittering outfit upon realization that the sea is no longer her heart’s desire? That blue dress was just overused. After Prince Eric threw it in the sea, never wanted to see it again. Definitely not Colleen Atwood’s best designs. The ending also really, really needed that Pride rainbow. Otherwise why quote Hans Christian Anderson if you’re not going to utilize the full scope of this metaphorical fairy tale masquerading his queer identity?</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRuRJnnQWa3dUNHICF-iFIY1vtuCI4blfVBAczj2l1OBg4aU3NkU7JguRZFub4BFmba1vMpwP7pNJ36hT04M5SYe84NZCyqrd4dNpavnWG1j8KIMO1r7T58b8QqrIvTEWeXiEXhjgzozxr3tX-KLS2uQ8Po3pMampQ8IigGWqUhferAgbkyiunRw/s2000/F0E4441F-6554-4ECA-9FC4-D6C6B629D854.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="985" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRuRJnnQWa3dUNHICF-iFIY1vtuCI4blfVBAczj2l1OBg4aU3NkU7JguRZFub4BFmba1vMpwP7pNJ36hT04M5SYe84NZCyqrd4dNpavnWG1j8KIMO1r7T58b8QqrIvTEWeXiEXhjgzozxr3tX-KLS2uQ8Po3pMampQ8IigGWqUhferAgbkyiunRw/s320/F0E4441F-6554-4ECA-9FC4-D6C6B629D854.jpeg" width="158" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Prince Eric’s adopted mom the Queen is played by Noma Dumezweni aka the Black Hermoine in Broadway who is no stranger to the “Black girl taking the role of white girl” controversy. </td></tr></tbody></table><p>Furthermore, color blind casting cannot truly succeed if most of the speaking characters are white. The nonwhite people/merfolk exist as though they were props collected in Ariel’s burnt down grotto. Yes, <i>The Little Mermaid</i> broadcasts the star potential in Halle Bailey and a small testament to Laurence Olivier winner Noma Dumezweni’s steadily growing legacy. Yet, they feel secondary to an all-white realm even with its pockets of brown and Black figures sprinkled about. At the same time, the film gives us nothing memorable for Sienna King, Simone Ashley, and the other mermaid sisters. Those are who I showed up for— those who now have dolls in the stores— dolls that were not there in the 1990’s. It remains a lesson that just because women of color are featured in big budget vehicles doesn’t necessarily mean a promotional win regardless if minorities work behind-the-scenes. Blockbusters can mesh the explosive thrills with indie vibe storytelling— <i>Everything Everywhere All At Once</i>, <i>Black Panther</i>, <i>Get Out</i>. Disney, however, set in the past, remakes their old films and believes that making a Black women lead a farce excuses their years of ignoring us. So, she must endure a decent screenplay with low quality CGI and music from Lin Manuel Miranda’s EGOT thirsty pen. Bailey is an excellent singer and a brilliant songwriter (listen to Chloe X Halle) with no credits to what could be awards frontrunners, especially enjoyed her inner thoughts expressed as a mental song. Like Ursula, Miranda may be finally taking home the prize due to Bailey’s gifted voice. </p><p>Although <i>The Little Mermaid</i> situates in the murky limbo between failure and triumph and is obviously not meant for someone like me, the children and Disney loving adults alike will cherish the film and truly enjoy Bailey’s multifaceted performance. Can’t wait to see her again— in an original film where she could write the music. </p><p>Until then, I will probably reread Anderson’s story and write my own dark fairytale. Perhaps maybe centering why I cut my sister’s doll’s hair to a rather fetching shoulder length bob. </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-82216515990970417062023-05-10T11:45:00.003-07:002023-05-10T12:09:02.083-07:00The Promising Evolution of Janine & Gregory <p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ArtjyrD2FqblXMjcuuAwXNIM23cbc_NHNXG-zoqpuVlrguGjGpLK20p__CcR-ayLclPYrXXwROCm314pz6o7O1HE6psS_E2g755ZgEvyKUyaeRVYdHnsa56ga5WULSUs5ZNCA26AAxCvJ-qYQnT3Ff81fYA-Bzs6PgNX4fra4SBUJ187A5bKg6M/s1200/AB6938F3-E846-4B87-B2B4-E35C7232A68A.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="1200" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ArtjyrD2FqblXMjcuuAwXNIM23cbc_NHNXG-zoqpuVlrguGjGpLK20p__CcR-ayLclPYrXXwROCm314pz6o7O1HE6psS_E2g755ZgEvyKUyaeRVYdHnsa56ga5WULSUs5ZNCA26AAxCvJ-qYQnT3Ff81fYA-Bzs6PgNX4fra4SBUJ187A5bKg6M/s320/AB6938F3-E846-4B87-B2B4-E35C7232A68A.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Love can still be a splendored thing between friends/coworkers Janine (Quinta Brunson) and Gregory (Tyler James Williams).</td></tr></tbody></table><p>Be patient and set aside your clever portmanteaus. </p><p>A few weeks ago, Janine Teagues launched our summer hiatus by surprisingly choosing herself over an immediate relationship with coworker Gregory Eddie in <i><a href="http://femfilmrogues.blogspot.com/2023/01/abbott-elementary-best-show-of-year.html" target="_blank">Abbott Elementary</a></i>’s second season finale, <i>Franklin Institute</i>. Although obviously “in like” with each other, Janine and Gregory simply are not ready to embark on their potential togetherness. It also may be unhealthy for Janine and Gregory to waste other people’s time whilst on the journey to finding themselves as well. They both should refrain from dating anyone and focus on teaching the youngsters. Most importantly, they need to come to terms with their respective childhood traumas. With therapy. Lots of therapy. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPaI4SoCWCmLYi_Kc3PVIoRs7PH7UqH9U-HV8w3PI2n2hNiiOCQ6J7PwZGCmv__JyfvaPpe0Dzmw8VxjTX5psOuJ0rb6DnO6UFm58yFz7eX-Ojj6wJdR3l3Bz8h9cUtdiZ8keGwfMFcoSY7hqNVRXPlGAj6h52KclsGPzdGTo2VuKC7rMX-PlfR18/s1200/5B80BF04-F194-4BF1-9C1A-28D93BFAAB67.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPaI4SoCWCmLYi_Kc3PVIoRs7PH7UqH9U-HV8w3PI2n2hNiiOCQ6J7PwZGCmv__JyfvaPpe0Dzmw8VxjTX5psOuJ0rb6DnO6UFm58yFz7eX-Ojj6wJdR3l3Bz8h9cUtdiZ8keGwfMFcoSY7hqNVRXPlGAj6h52KclsGPzdGTo2VuKC7rMX-PlfR18/s320/5B80BF04-F194-4BF1-9C1A-28D93BFAAB67.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gregory couldn’t tell Barbara’s daughter Taylor, he didn’t like clam chowder. However, he did tell Janine.</td></tr></tbody></table><p>Infectious, optimistic, and extremely upbeat Janine has issues separating her personal life from her teaching. Often, it shows up to school anyway. From the light bulb situation of the first season’s second episode all the way to second season, episode twenty-one’s <i>Mom</i>, Janine carries a heavy emotional load. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4g5E4RwkpbPyEshGnZeNISHJOTZVOFvkjBIMpALiXlwxJ1btICLoblc-Kd_JFbC3qpB_Prxul9oxAlkkUUM5NiGrLss8MdBmsKnEvlnK7uOlUtSBvQ-x1MijWef4kd4mxtCAeFWzkL-tmisOvsLGbxsFG8lc7Lruesqr65NlUa4hdWa2ZQXIyovo/s900/12792CBB-A3E2-4481-B0F8-852A404D297D.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="526" data-original-width="900" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4g5E4RwkpbPyEshGnZeNISHJOTZVOFvkjBIMpALiXlwxJ1btICLoblc-Kd_JFbC3qpB_Prxul9oxAlkkUUM5NiGrLss8MdBmsKnEvlnK7uOlUtSBvQ-x1MijWef4kd4mxtCAeFWzkL-tmisOvsLGbxsFG8lc7Lruesqr65NlUa4hdWa2ZQXIyovo/s320/12792CBB-A3E2-4481-B0F8-852A404D297D.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Janine is a good teacher, but it is not surprising that people confuse her as a “big kid.”</td></tr></tbody></table><p>Throughout Janine’s high school, college, and early teaching career, she has only been in one relationship. Imagine the significant moments in Janine’s life: a teenager’s first intimacies, homecoming and prom, several graduations, apartments— all experiences shared with Tariq. Janine’s mother Vanetta checks out and sister Ayesha skipped town as a healing mechanism. Thus, leaving a boyfriend who does not always prioritize Janine. In turn, delaying and hindering her improvement possibilities. For the longest time, Janine has been attached, her identity slumped to another man, a man who did not deserve her loyalty, let alone devout longevity. Tariq may be talented and good with children, but he was not good for Janine. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDmNK_agobBKub0ae0YeSF030lpFPBiHktrvJbI7k2kCnbVYx6UQznfcVmZvMr0yeMwRN6EOWQbiOxSoDupPUz-EuGfMPdAzoTYngOi6gqVH__xqIzbB9-4-lCQjNqyRABsrqxJ706md4xywSRjlYZ69PeNsJpRmEcAcs983lr35Lbr89O4n5QzLU/s4032/1EEF0662-104E-4723-A4DB-1D566CBFA403.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2252" data-original-width="4032" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDmNK_agobBKub0ae0YeSF030lpFPBiHktrvJbI7k2kCnbVYx6UQznfcVmZvMr0yeMwRN6EOWQbiOxSoDupPUz-EuGfMPdAzoTYngOi6gqVH__xqIzbB9-4-lCQjNqyRABsrqxJ706md4xywSRjlYZ69PeNsJpRmEcAcs983lr35Lbr89O4n5QzLU/s320/1EEF0662-104E-4723-A4DB-1D566CBFA403.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Next to seeing her kids, Gregory is another good part of Janine’s work day. It’s only right that she continues to savor her joy.</td></tr></tbody></table><p>Janine has various immature tendencies: toxic positivity, interfering in situations that are none of her business, not understanding that you can simultaneously like people, and entering into a messy situation with her coworker’s friend while obviously infatuated with said coworker. She should have more time to adapt to single hood, to learn her potential as a young Black woman in Philadelphia hoping to make a change in the corrupt educational system. When Barbara, Melissa, and Ava applauded Janine instead of condemning or making jokes on her single girl trip, that was a step in the right direction. After what has happened in her third teaching year, Janine could build on a stronger relationship with herself, with Ayesha. She’s already gradually setting boundaries with Vanetta. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYntHluyzXNU3obMJn6mMEs7VMlebXVxkhswZwjLHlR7ytWHPagg70yEyyRa_QgSQErZkx2yAA-4BKqo1pmC3sonU1V1DTGAdW72xrt0JsWQsLvP8e3vQQW6y69pGITHWyeKy5yOnKrUSDYepthGCgx5N5wQ5aKvfKST_YAVl6hrwXoOgWAqafOPE/s1280/1BDF4939-BF07-448E-852A-BF3A828D6BA1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYntHluyzXNU3obMJn6mMEs7VMlebXVxkhswZwjLHlR7ytWHPagg70yEyyRa_QgSQErZkx2yAA-4BKqo1pmC3sonU1V1DTGAdW72xrt0JsWQsLvP8e3vQQW6y69pGITHWyeKy5yOnKrUSDYepthGCgx5N5wQ5aKvfKST_YAVl6hrwXoOgWAqafOPE/s320/1BDF4939-BF07-448E-852A-BF3A828D6BA1.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Erika (Courtney Taylor) has been a sweet, much-needed addition to Janine’s extremely small circle. </td></tr></tbody></table><p>Moreover, Black love is a form of activism, especially in television and film. The phenomenon is either sparsely sprinkled or tokenism remains alive. Black characters caring about each other and also valuing the self— that takes tremendous effort. It doesn’t always have to imply romance. <i>Abbott Elementary</i> has Barbara bonding further with her work daughter, willing to sacrifice for Janine. Those moments in <i>Mom</i> were beautifully rendered. Unafraid to tell Janine she’s messy, Erika is a blunt and honest encouragement outside of elementary school children and coworkers. Even Ava occasionally seems to give a little heart to Janine (sometimes against Ava’s iron will). At the same time, however, we do appreciate Melissa and Jacob as well because they demonstrate support and respect to Barbara, Janine, Gregory, and Ava (sometimes). </p><p>That leads to Gregory— carving his own path towards Black Boy Joy.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2egmHABLDus73jBt4D-Jv26rGP09XyIwtn9q4bee4kgvcrsEtNuXP3UK2Rg53xm6BbTi9p0OVGY5TCPA2eAzPCESXIjAxOfoHVsKHMLmBLem96Zg1pLSJnPDSvbDNtMuuwy-1LVojI--9hUfmHUaIesCSlSu2hiAMphVgJpu_bwr30DUlEH4TI2I/s3000/8742DC7C-7956-4EEB-949A-EECE50A60270.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2egmHABLDus73jBt4D-Jv26rGP09XyIwtn9q4bee4kgvcrsEtNuXP3UK2Rg53xm6BbTi9p0OVGY5TCPA2eAzPCESXIjAxOfoHVsKHMLmBLem96Zg1pLSJnPDSvbDNtMuuwy-1LVojI--9hUfmHUaIesCSlSu2hiAMphVgJpu_bwr30DUlEH4TI2I/s320/8742DC7C-7956-4EEB-949A-EECE50A60270.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gregory may be Teacher of the Year, but he has ways to go before truly earning that title. Perhaps by then, he will either stay teaching or become principal with a proud Janine cheering him on. </td></tr></tbody></table><p>Militant Gregory finds comfort in his shell, closed off to people who are not Janine. Sure, Gregory asks Barbara and Melissa for advice on occasion, but he still retains a reserved persona. He lies about small things hating pizza and liking donuts, clandestine gardening, staying in relationships that do not serve him (Taylor and Amber), and reluctant to pursue friendly rapports beyond his circle (important if you want to become principal). Also, Gregory nearly kissing Janine in <i>Holiday Hookah</i> and actually initiating that move two episodes later (a day after his breakup) while she was dating his friend Maurice hints at his more selfish flaws. Let’s not even address the awkward, secondhand embarrassment of Gregory and Janine dumping Maurice together— too much to unpack there. </p><p>Yet, Gregory moves on the cusp of change— declining his father Martin’s offer to join the family gardening business, to continue building on becoming a better teacher (despite that lingering principal desire as seen in <i>Fire</i>), and finally seeing Jacob as a genuine friend, a confidante. Gregory giving into Jacob’s hug at the Franklin Institute after Janine’s rejection (a year after not receiving the principal job) was a tender step in the right direction for his personal developmental growth. Gregory is shedding vulnerability, letting down his guard, and owning his journey to happiness. When he was proudly digging in the garden, acknowledging that the time came to “plant new seeds,” it symbolized perhaps a significant step towards change. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-6S4C0pDfweuSkA4gdPn5QsErmqEsNIKyFu62b0_eDxmVF4MQlfEpa1H54dx1oRvTUTHTC_Tdmk1CdPql1DoECM7t6yZcDexY3cWEjLiaA3DUbg1oJR4371jr06clNS6L7zFW3F8kKEe1MLDyAVjf7LbpVF1nAAL7GCyJt4Pl44pv6pu8pVN0zY/s1566/30DE8F83-16A5-45C8-9E00-873A98E3DBBF.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="881" data-original-width="1566" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-6S4C0pDfweuSkA4gdPn5QsErmqEsNIKyFu62b0_eDxmVF4MQlfEpa1H54dx1oRvTUTHTC_Tdmk1CdPql1DoECM7t6yZcDexY3cWEjLiaA3DUbg1oJR4371jr06clNS6L7zFW3F8kKEe1MLDyAVjf7LbpVF1nAAL7GCyJt4Pl44pv6pu8pVN0zY/s320/30DE8F83-16A5-45C8-9E00-873A98E3DBBF.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Janine slowly but surely steps back from parenting her mother Vanetta (Taraji P. Henson).</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgINvb62z79nG8MFZk49URu2tyzhUsjf-g3m22FQ52w_1TlPXpd4bfxFt30mzu_zDi0VikawQ_fH7vxntmpaUBQAj_Zv1Br5vYcyQXlegmMX90Hf34QF8LjNGJDj-pGfUSWGbcnHKAoYYpjFfQkM8n6ajMJQuXz8wSjyBLo7os62pEwzuSm8Hu1JGA/s1200/036D2ADF-065F-4EFA-AF5C-3D869797422F.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgINvb62z79nG8MFZk49URu2tyzhUsjf-g3m22FQ52w_1TlPXpd4bfxFt30mzu_zDi0VikawQ_fH7vxntmpaUBQAj_Zv1Br5vYcyQXlegmMX90Hf34QF8LjNGJDj-pGfUSWGbcnHKAoYYpjFfQkM8n6ajMJQuXz8wSjyBLo7os62pEwzuSm8Hu1JGA/s320/036D2ADF-065F-4EFA-AF5C-3D869797422F.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">In his last visit, Martin (Orlando Jones) tells Gregory that he’s proud of his secret progress attending to the school garden.</td></tr></tbody></table><p>Martin and Vanetta have both visited Abbott, but have yet to respectively run into Janine and Gregory. Perhaps when the stern Martin meets Janine and kleptomaniac Vanetta meets Gregory, the offspring defends both their friend/co-worker and themselves. You can already imagine Martin believing Janine unworthy of his son or Vanetta just being uninterested altogether in Gregory (she didn’t even know Janine and Tariq broke up). Still, the united front a matured Janine and Gregory could put together against their problematic parents (and the triggers of their harm)… incredible. Moving. Cycle ending. </p><p>Without the convincing chemistry between Quinta Brunson and Tyler James Williams’s portrayals, Janine and Gregory surely would not be this dynamic. We’ve seen them on <i>A Black Lady Sketch Show</i> and heard their voices in the <i>Harley Quinn</i> episode <i>A Very Problematic Valentine’s Day</i>. Hopefully, Brunson and Williams continue building a solidified partnership on <i>Abbott Elementary</i> and afterwards shift into making films together. If Gabrielle Union and Morris Chestnut can keep at it, why not Brunson and Williams too? </p><p><i>Abbott Elementary</i>’s writing has been consistently top notch— and a primary reason to support the WGA strike. We deserve quality television on all fronts and that starts with the writers. Thank the writers for giving us this strong development between Janine and Gregory. May their pens never run dry— especially on this terrific show, on this beautifully rendered slow burning pairing. Whether good friends till the end or the next smolderingly hot couple— either way the blossoming love between Janine and Gregory has sweet possibilities once the characters come to terms with who they truly are. </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-36128691482947549852023-05-09T01:18:00.002-07:002023-11-17T18:56:40.183-08:00‘Nightwatcher,’ Greatest Vulnerabilities Reveal A Black Girl’s Greatest Weapon<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35wPrZ8Tzgz1DCYO3kQMEoDa_KF1gnHwH5gTGa4g1iSsb5doEI_w4APM4B9ADTHflX-KaLTgdH3dbwZXQkW2MzpTLChHYcyEuQDJE-3Un7nib4uae5lp1In1w7ndpMSSy_99dqL3t1wnvg1iOzFEmZeyheAlwnbp8h4XOePneJcyG3G8oIuQ-YFc/s1950/F045DAC7-CC0F-4438-B8D5-49ED19B8DF33.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1113" data-original-width="1950" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35wPrZ8Tzgz1DCYO3kQMEoDa_KF1gnHwH5gTGa4g1iSsb5doEI_w4APM4B9ADTHflX-KaLTgdH3dbwZXQkW2MzpTLChHYcyEuQDJE-3Un7nib4uae5lp1In1w7ndpMSSy_99dqL3t1wnvg1iOzFEmZeyheAlwnbp8h4XOePneJcyG3G8oIuQ-YFc/s320/F045DAC7-CC0F-4438-B8D5-49ED19B8DF33.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leila (<span style="text-align: left;">Arséma Thomas) </span>has a very special gift. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><p></p>Octavia Butler’s <i><a href="http://femfilmrogues.blogspot.com/2022/12/kindred-delivers-botched-hot-mess.html" target="_blank">Kindred</a></i> seems to arrive in the surprising form of Amira Hasib’s 2018 short film, <i><a href="https://vimeo.com/272801149">Nightwatcher</a></i>. Newcomer Arséma Thomas (who portrays <i>Queen Charlotte</i>’s young Lady Agatha Danbury) stars as Leila, a Black woman with the phenomenal ability to leave situations that frighten her. However, unlike Dana whose shifts from past and present occur the moment she moves into a new home, Leila appears to have had the adapted the skill since childhood— and it happens a whenever she needs saving. <div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWZXyNc80iV660qcveujAEtrG-scspw2Z7Hjgi2Gtc0TLBeVMa-3AWRDPEGjnr6Z_JoiBpMCigJLgD534tToBOtLJQknXE57EE4OfJvQIAxrg8YrhxOvUbhMxUGg-cvyoM2i4DqAaQewcseRqbWgHWTzhFddTjOvcXBfSXXxdSTfYN4M-ZqdfucI/s1916/993A7A6C-1D52-4D53-B9AF-33FAC7B863B1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1007" data-original-width="1916" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWZXyNc80iV660qcveujAEtrG-scspw2Z7Hjgi2Gtc0TLBeVMa-3AWRDPEGjnr6Z_JoiBpMCigJLgD534tToBOtLJQknXE57EE4OfJvQIAxrg8YrhxOvUbhMxUGg-cvyoM2i4DqAaQewcseRqbWgHWTzhFddTjOvcXBfSXXxdSTfYN4M-ZqdfucI/s320/993A7A6C-1D52-4D53-B9AF-33FAC7B863B1.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A passive Leila (Rylee King) quietly takes the abuse. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><div><br /></div><div>In the schoolroom, Leila endures cruel teasing from two giggling girls <i>and</i> a teacher who does little to reprimand the bullies. Leila’s friend and classmate Lance tells Leila to ignore them— an early instruction to be complacent, to simply say or do nothing. A conditioned Leila must be on her best behavior even when all around her is civil disobedience and undermined chaos. She internalizes her frustration, her agony, and her despair. To stand up for herself against her attackers (the innocent white girls) potentially categorizes Leila as disrespectful, wild, and unruly. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HqrDGlkoCy1bB1Cl81tyySY0wWvveYLFCsvjBYybDUcITCGcpXYET7cMqHQndTbzi072PG3AdnHkY339TElB87AcYSrfDPmIsSwRAYguJq7jzMt5m8yBMIS2zBKigG59YR3DqhJ0Jz6H3ULTZGW1s-IAnMq_1DUcB9HQmCdVpAz72DOEi_AiZN4/s1915/9AA6C89A-2984-415A-BD26-A35F68C82DC9.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="967" data-original-width="1915" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HqrDGlkoCy1bB1Cl81tyySY0wWvveYLFCsvjBYybDUcITCGcpXYET7cMqHQndTbzi072PG3AdnHkY339TElB87AcYSrfDPmIsSwRAYguJq7jzMt5m8yBMIS2zBKigG59YR3DqhJ0Jz6H3ULTZGW1s-IAnMq_1DUcB9HQmCdVpAz72DOEi_AiZN4/s320/9AA6C89A-2984-415A-BD26-A35F68C82DC9.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">“Please just ignore them,” Lance (Destin Hopkins) repeats. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><br /><div>Lance cannot protect Leila either. The collateral damage thrown his way means a more severe punishment for him and a cry out for feminism (and it’s problematic lack of intersections). Despite Lance’s soft and tender nature, if he blasted the two girls, they would paint him as a violent catalyst— an instigator. </div><div><br /></div><div>Thus, in these few minutes alone, only two kids are allowed a carefree existence (under the disguise of prejudice) while Leila and Lance withhold any disciplinary reaction. Once class is dismissed, Leila runs out into the bathroom and the two bullies give chase with a concerned Lance hot on the trail. As the torturers play an even naughtier game, daringly raising scissors near the bubblegum they’ve stuck into Leila’s hair, Leila suddenly vanishes into thin air. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbm8oDvVSVzx_p1Nbqw5R_ka1o7FiZ2V5TTBdasV-rV68hCVTV9CTiP6z28wLsN0sKISAeFRiNeiZd_dUpGG1_78fnkNJDBgQeL8SvS9Zxqi8kdICX3iLLDBjpAPLe1Lcib19_esGo5CXu1F05qCvrTe483ty99WPkF2oS5UiJIMFhntZunb9WAQ/s1893/87FD7DDA-A264-4AFF-ACF4-571B1DC62B9A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="980" data-original-width="1893" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbm8oDvVSVzx_p1Nbqw5R_ka1o7FiZ2V5TTBdasV-rV68hCVTV9CTiP6z28wLsN0sKISAeFRiNeiZd_dUpGG1_78fnkNJDBgQeL8SvS9Zxqi8kdICX3iLLDBjpAPLe1Lcib19_esGo5CXu1F05qCvrTe483ty99WPkF2oS5UiJIMFhntZunb9WAQ/s320/87FD7DDA-A264-4AFF-ACF4-571B1DC62B9A.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">An unsmiling Leila takes a look at her reflection.<span style="text-align: start;"> DP: Alexander Mejía.</span></td></tr></tbody></table><div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcrCy3UcKj2v5r2w65Bnoj3jz3DFWxlP_S62IiIhVvR1yKPHLvM96AKv7on3Kznx5HMX_6TamUAgzYJpT0FbSIDTD52C0hYAAN9pyzCTrU6FsWsxU2hAlMAGZjuk6WRWZeG4zWohd-rPilVc8fBvGHKPrWPkzO3Y6HCeFHGQ86z4ae9CqF2ZTo-fg/s1939/C627016D-AB6C-4B0A-A1F0-C7B32F0B509A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="983" data-original-width="1939" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcrCy3UcKj2v5r2w65Bnoj3jz3DFWxlP_S62IiIhVvR1yKPHLvM96AKv7on3Kznx5HMX_6TamUAgzYJpT0FbSIDTD52C0hYAAN9pyzCTrU6FsWsxU2hAlMAGZjuk6WRWZeG4zWohd-rPilVc8fBvGHKPrWPkzO3Y6HCeFHGQ86z4ae9CqF2ZTo-fg/s320/C627016D-AB6C-4B0A-A1F0-C7B32F0B509A.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leila stretches her hair against her cheek. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><div><br /></div>The mirror repeatedly reinforces an acknowledgment. </div><div><br /></div><div>Leila is beautiful, lovely, precious. </div><div><br /></div><div>The colonized globe wants everyone to hate their reflections and mimic all things European. It takes time for a persuaded mindset to relearn history; to prioritize self over prevalent media representation. Often, the first people that harm us are not the pictures on television or in books— it’s our peers in the classroom. Leila’s crushing experiences are eerily similar to endless Black girls. This still exists today and will exist tomorrow. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr-PDfBeTPDaMMl9SLqaQFFkhcWI8ixC_6r35j5uOtAPbVmlwg-qh2qRQYst3FSJdy8LESfW5461hFtbsb6zuUnl03l12DDk58kYZqudhuFJmgBlYfXks99La-BlK3OQ_p2UwRCdO5w43XItUNE_JAwyYYk7auDsANXMoQ8iLuf1ioINGVlqrhOeg/s2026/CBA71F29-E241-4A49-96DE-A5EA89279BCF.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="951" data-original-width="2026" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr-PDfBeTPDaMMl9SLqaQFFkhcWI8ixC_6r35j5uOtAPbVmlwg-qh2qRQYst3FSJdy8LESfW5461hFtbsb6zuUnl03l12DDk58kYZqudhuFJmgBlYfXks99La-BlK3OQ_p2UwRCdO5w43XItUNE_JAwyYYk7auDsANXMoQ8iLuf1ioINGVlqrhOeg/s320/CBA71F29-E241-4A49-96DE-A5EA89279BCF.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Older Leila (<span style="text-align: left;">Arséma Thomas) </span>is pleased with her appearance— straight haired bob and impeccable makeup. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><br /><div>At a mundane party, an adult Leila practices her powers in the mirror; hoping to return home. The disappearance act only works in genuinely frightening situations— not as an operative excuse to flee boring life events. That small isolated moment grants a taste of Leila’s carefree spirit. Perhaps she has been practicing for years, testing out her powers for other possibilities. Still, she deserves inside joking as a coping mechanism in light of her supernatural abilities relying on pure vulnerability, on being extremely scared. </div><div><br /></div><div>Meanwhile, Leila surrounds herself with good friends Lance and Kailey. Instead of hanging out at Leila’s place, however, Kailey has other plans: a man who can afford an expensive Uber XL to pick her up from random parties. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4JhgdROh97wU_fteBDbe9j43q320JDgD364Y-XuVAtcQUjL3gpWItWxe7JP-9F3CHTB0oPuzrFpI6cYMhj60tjTXqnllFYHitvpP6leQCWytAnabGzk3dqlofqCSXY6yrJLaKmDOlVQtbMs5dqnuoyMRtWWsGJeDeMtlAX87mIQbz498yFSYKxE/s1898/63558E72-93FD-4079-9BF6-576F37736212.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1010" data-original-width="1898" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4JhgdROh97wU_fteBDbe9j43q320JDgD364Y-XuVAtcQUjL3gpWItWxe7JP-9F3CHTB0oPuzrFpI6cYMhj60tjTXqnllFYHitvpP6leQCWytAnabGzk3dqlofqCSXY6yrJLaKmDOlVQtbMs5dqnuoyMRtWWsGJeDeMtlAX87mIQbz498yFSYKxE/s320/63558E72-93FD-4079-9BF6-576F37736212.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leila and Michelle (Sydney Thomas) hide out in a dull party’s bathroom.<span style="text-align: start;"> DP: Alexander Mejía</span>. </td></tr></tbody></table><div><br /></div><div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWgfEhOAusN4TcPmpih1IaTnV_IvbPG5a1-_7zDgLhrrHlAIWP0nf7gfmtkIAvjCDx1HhzWcTP-TRDY-25PSS32Pim_tZV2y103V_vnQbFYv1CdNDphJHTHJRn4ih6d1R34XKIc0j9PqspkZ5qXJF7qgFzVttMwRIRaDeOR1bnMscmYIIEeI8UEw/s1957/42D19EA9-1345-4BFC-B01F-DE72768764C9.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="994" data-original-width="1957" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWgfEhOAusN4TcPmpih1IaTnV_IvbPG5a1-_7zDgLhrrHlAIWP0nf7gfmtkIAvjCDx1HhzWcTP-TRDY-25PSS32Pim_tZV2y103V_vnQbFYv1CdNDphJHTHJRn4ih6d1R34XKIc0j9PqspkZ5qXJF7qgFzVttMwRIRaDeOR1bnMscmYIIEeI8UEw/s320/42D19EA9-1345-4BFC-B01F-DE72768764C9.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Older Lance (Jashawn Richardson), Michelle (Sydney Thomas), and Leila (<span style="text-align: left;">Arséma Thomas) </span>leave out the party. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><div><br /></div>Once Kailey’s ride comes and she ditches her friends for a boyfriend rendezvous, Leila and Lance walk alone in the night together. If only the generous boyfriend had paid for Leila and Lance to get home too— even though, yes, that’s a tough ask in this society, in this economy.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT2IX4jCm6FUSbIYTQvspx0mI2I6LXvWLqn9dpwHtZxjg-oReGS5FpCM6uM5bORhRxMVuq7PPnzfPa3kylTGLLZj4LDyhARo--wRPtA_RZSkEjfIm_bIO-ttHeQmokyS4wT9OeK2YoumLttc2oT_RvULLnZCpesdGjcZxD0d-aF9vYsjeDg7PDrN8/s1964/1ABB6999-2042-444B-9E25-77248302C589.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1019" data-original-width="1964" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT2IX4jCm6FUSbIYTQvspx0mI2I6LXvWLqn9dpwHtZxjg-oReGS5FpCM6uM5bORhRxMVuq7PPnzfPa3kylTGLLZj4LDyhARo--wRPtA_RZSkEjfIm_bIO-ttHeQmokyS4wT9OeK2YoumLttc2oT_RvULLnZCpesdGjcZxD0d-aF9vYsjeDg7PDrN8/s320/1ABB6999-2042-444B-9E25-77248302C589.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leila and Lance are stopped before heading home. <span style="text-align: start;">DP: Alexander Mejía.</span> </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilwbFLt5IV3CUXe9TmS0bMyILlSoAY7qJzHNwyM6EzbWc5wWmVmDA45zEEOzNp5ZlFS1his8dR8EhsPUZ9B0gSr74ZEqwm_qs6G-fQZB8N-hJgHQM1411biNvIZn9XhtDPCoPXF5ts1iYMQgd18CcO-QqylKThMUq7s-5f_UPasltD3xmWC3tt1T8/s1889/50061B3D-DED7-4DEC-BAF7-E997BEA886CA.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1033" data-original-width="1889" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilwbFLt5IV3CUXe9TmS0bMyILlSoAY7qJzHNwyM6EzbWc5wWmVmDA45zEEOzNp5ZlFS1his8dR8EhsPUZ9B0gSr74ZEqwm_qs6G-fQZB8N-hJgHQM1411biNvIZn9XhtDPCoPXF5ts1iYMQgd18CcO-QqylKThMUq7s-5f_UPasltD3xmWC3tt1T8/s320/50061B3D-DED7-4DEC-BAF7-E997BEA886CA.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The man berates them and acts like a cop. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><br /><div>Unfortunately, Leila and Lance are immediately pursued. The white male stranger tells a story of a nearby robbed liquor store, believing they fit the description. He does not allow them to leave. The situation escalates, the man impermissibly searching and pushing Lance on the ground. The man— conditionally convinced of guilt and wrongdoing— does not buy their stories or that their IDs are genuine. A horrified Leila moves her body, seeming prepared to launch an attack of her own. Instead, Leila grabs hold; causing both she and Lance to disappear together. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaX1S06Vk2YpigDL0QhS6raaUIMrVVIRVomGkX4i8o9VXcM4x1hJiirh4F7vfBC7Ex51x4Q1Q6OGbZwhh6xxPLqOx-uRXUPrbKO7r0jzvo1jpF0u_Xma6ZgiRWp3YGTkBwhs90CoAfBeAxBI8ETmRF2l9ha-Zb9O0EbxP3hqkjjPtg4pIcWVZ9CL4/s1859/1A106F74-3543-492A-A497-3D4B658620A9.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="990" data-original-width="1859" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaX1S06Vk2YpigDL0QhS6raaUIMrVVIRVomGkX4i8o9VXcM4x1hJiirh4F7vfBC7Ex51x4Q1Q6OGbZwhh6xxPLqOx-uRXUPrbKO7r0jzvo1jpF0u_Xma6ZgiRWp3YGTkBwhs90CoAfBeAxBI8ETmRF2l9ha-Zb9O0EbxP3hqkjjPtg4pIcWVZ9CL4/s320/1A106F74-3543-492A-A497-3D4B658620A9.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leila pulls off her wig and breathes. Maybe she remembers wanting to flee the party earlier. Lance probably would not have made it home. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5le4NsrDfHCMKhfn4Oxj0b7Gvknf7UwwLkl0XmTf2ByuJanwz70yWs6-SlPHgbpzdvTprm3Fhjudkh7Oo84ZD1vbFl8U2nUWUY1N-8NJ0D_mRUqSV-7K8Nt9VI9qrOIUdicXdCERWBoP4kCbOgiNV4hNPlaZyE9me-QmUV52rLUUa8m7fvaya6Ww/s1896/372F7652-AC20-4D11-AB5B-B22F77F5C95F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1004" data-original-width="1896" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5le4NsrDfHCMKhfn4Oxj0b7Gvknf7UwwLkl0XmTf2ByuJanwz70yWs6-SlPHgbpzdvTprm3Fhjudkh7Oo84ZD1vbFl8U2nUWUY1N-8NJ0D_mRUqSV-7K8Nt9VI9qrOIUdicXdCERWBoP4kCbOgiNV4hNPlaZyE9me-QmUV52rLUUa8m7fvaya6Ww/s320/372F7652-AC20-4D11-AB5B-B22F77F5C95F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lance is still shaken by the event. <span style="text-align: start;">DP: Alexander Mejía.</span></td></tr></tbody></table><div><br /></div><div><i>Nightwatcher</i>— found on Thomas’s Wikipedia page versus IMDb and Letterboxd— showcases the various racist encounters that Black people face every single day, no matter their age. People would write off girls putting gum in another’s hair as “something kids do,” write off bullying as though bullying does not impact emotional/psychological development in addition to Leila’s temporarily destroying physical presentation. Moreover, the harmful neighborhood watch, police, and “do-gooder” bystanders cause trauma. </div><div><br /></div><div>Pratt Institute alum writer/director Amira Hasib demonstrates tenacious skill in <i>Nightwatcher</i>— a piercing dedication to the many Black girls and women in the tragically ongoing Say Her Name movement. A story begins with ferocious laughter at a Black girl’s expense and ends on a Black woman’s tearful note echoes the daily struggle, that familiar sad rite of passage. Hasib candidly depicts Leila’s presence as one to be tolerated or extinguished. Yet, Leila’s bravery lies in the supernatural force ensuring that the latter does not become an option for her or Lance. She can be afraid, she can let fear overcome her senses, her entire being. Although Lance implies that Leila can save others, the question becomes could her consciousness bear the heavy burdens of trauma after trauma— hers and those that she rescues? Then, the lingering memories would perhaps overload her mind, destroy any remaining fragilities. She is human too. </div><div><br /></div><div>Hasib’s unique fifteen-minute narrative should have been a remarkable basis for that <i>Kindred</i> series— something that Mrs. Butler would applaud. Leila is the modern-day Dana— just a Black girl surviving and trying to thrive in a society that still reminds her and her friends that they will always be treated differently. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwmL5ZroSYyoPsPy66_me4JviiYF8FZf-LRMcq1GkDLeTjCouSstwRJFSjDRVERQukj0EFxheyBflZ6mSHPYMcC5fPUIlKT6gsgyAw3TXdisx392UVHoG7EsnT72leDLBFiIZ9YfWyD5iBTsaUC-iDLj3zsrK-jYhAWb5VZlVsuAruYk6zPRz7P00/s1790/59D7C725-EACC-4CD0-ADD1-5CD3C6A012CA.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="935" data-original-width="1790" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwmL5ZroSYyoPsPy66_me4JviiYF8FZf-LRMcq1GkDLeTjCouSstwRJFSjDRVERQukj0EFxheyBflZ6mSHPYMcC5fPUIlKT6gsgyAw3TXdisx392UVHoG7EsnT72leDLBFiIZ9YfWyD5iBTsaUC-iDLj3zsrK-jYhAWb5VZlVsuAruYk6zPRz7P00/s320/59D7C725-EACC-4CD0-ADD1-5CD3C6A012CA.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leila and Lance reflect on the rooftop. DP: <span style="text-align: start;">Alexander Mejía.</span></td></tr></tbody></table><br /><div>The cast shines in their limited yet powerful screen time: Rylee King (who utters not a single word) and Arséma Thomas both portraying Leila at specific moments where they are made aware of the Black stigma; Destin Hopkins and Jashawn Richardson as two Lance’s, a little worried boy who encounters the most horrifying experience as a Black young adult male. The saturated colors, especially the pleasing pinks and purples of Alexander Mejía‘s commendable cinematography build up Leila’s complicated world. Plus, perfectly lit Black skin impresses every scene. </div><div><br /></div><div>The evocative, thought-provoking <i>Nightwatcher</i> inches between realistic drama and subdued science fiction; keeping in mind that Black people are rarely allowed an opportunity to be innocent in the eyes of those who do see color first and human last— if ever at all. </div><div><br /></div><div>Leila’s purpose is both a beautiful sentiment and a profound poem embodying authentic Black love. </div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-37801044677664827662023-05-01T18:57:00.001-07:002023-06-21T07:38:56.638-07:00April 2023 Film Watches<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIL5UNvNmsbKuFKtUG4j8qr1khX3LTAGHmY-vWjXcb6NutghAZlzEk0LOEhyXRF2mrcLtKw-NCmjprlYzv1Wm_zg4_yNXHfVDcEy7h0yMiMESfFmMYoCIPpKGpC3FBwmAaPjXDLrWnyWNkoSFImVhcnDxLD4eQ_JwHl-aI5gJAlVvj7lk3eQpG3NU/s300/E59254D8-08E4-4B07-948E-43853AA9FBBB.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="184" data-original-width="300" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIL5UNvNmsbKuFKtUG4j8qr1khX3LTAGHmY-vWjXcb6NutghAZlzEk0LOEhyXRF2mrcLtKw-NCmjprlYzv1Wm_zg4_yNXHfVDcEy7h0yMiMESfFmMYoCIPpKGpC3FBwmAaPjXDLrWnyWNkoSFImVhcnDxLD4eQ_JwHl-aI5gJAlVvj7lk3eQpG3NU/s1600/E59254D8-08E4-4B07-948E-43853AA9FBBB.jpeg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A still from David Chung’s <i>Royal Warriors</i> (1986).</td></tr></tbody></table><p></p><p>April was a month featuring a few terrible remakes and wonderful, original feature-length and short films (som making it on my review/essay to write list). Most were streamed on Prime, Criterion Channel, Hulu, and Tubi (highly recommend even if the commercials can be a minor hindrance). Three feature films were seen in theaters and seven shorts were included in this year’s amazing Lunafest Film Festival program. <br /><br /><br />1.) “The Housemaid” (2010) Im Sang-soo #^ 3/10<br /><br />2.) “A Thousand and One” (2023) A. V. Rockwell #*+ 9/10 <br /><br />3.) “Royal Warriors” (1986) David Chung #^ 7.5/10<br /><br />4.) “Magnificent Warriors” (1987) David Chung #^ 8.5/10 <br /><br />5.) “Miss India America” (2015) Ravi Kapoor #^ 2.5/10<br /><br />6.) “Persuasion” (2007) Adrian Shergold # 7.5/10<br /><br />7.) “Univitellin” (2016) Terence Nance #^ 10/10<br /><br />8.) “How Would You Feel?” (2010) Terence Nance #^ 8/10<br /><br />9.) “Swimming In Your Skin Again” (2015) Terence Nance #^ 8/10<br /><br />10.) “The Mighty Quinn” Carl Schenkel (1986) # 6/10<br /><br />11.) “Only You” (2015) Hao Zhang #^ 7.5/10<br /><br />12.) “Reclaim Your Water” (2022) Faith Briggs #* 9/10 <br /><br />13.) “Pete” (2023) Bret Parker #* 10/10 <br /><br />14.) “Syed’s Xmas Eve Family Game Night” (2021) Fawzia Mirza *^ 9/10 <br /><br />15.) “Miss Chelove: From Java to the Streets of D.C.” (2022) Sara Gama #*<br /><br />16.) “This Is Beth” (2022) Jen Randall #* 6.5/10 <br /><br />17.) “More Than I Want to Remember” (2022) Amy Bench #* 6.5/10<br /><br />18.) “Swimming Through” (2022) Samantha Sanders #* 7/10 <br /><br />19.) “Love And…” (2005) Zhang Lu #^ 6/10 <br /><br />20.) “Hawa” (2022) Maïmouna Doucouré #*+ 10/10<br /><br />21.) “April and the Extraordinary World” (2015) Christian Desmares and Franck Ekinci # 7/10<br /><br />22.) “House of Hummingbird” (2020) Bora Kim #*^ 9.5/10<br /><br />23.) “All About You” (2001) Christine Swanson #*+ 9/10<br /><br />24.) “Clock” Alexis Jacknow (2023) #* 4/10<br /><br />25.) “All About Us” (2005) Christine Swanson #*+ 6/10<br /><br />26.) “ear for eye” (2022) debbie tucker-green #*+ 8/10<br /><br />27.) “The Bone Collector” (1999) Phillip Noyce # 3/10<br /><br />28.) “Girlfriends” (1978) Claudia Weill #* 9.5/10<br /><br />29.) “Sunday Dinner” (2023) Monique Needham #*+ 7/10 <br /><br />30.) “Polite Society” (2023) Nida Manzoor #*^ 10/10<br /><br />31.) “Posies” (2021) R. H. Stavis and Katherine Fisher #* 6/10<br /><br />32.) “Life of Pi” (2005) Ang Lee #^ 6/10<br /><br />33.) “Dune” (1984) David Lynch # 4/10<br /><br /><br /># first time watch <br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />*^ nonwhite woman filmmaker <br /><br />^nonwhite filmmaker </p><div><br /></div><div>Other notes: 32 first time watches, 20 films directed/written by nonwhite filmmakers, and 18 films made by women.</div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-6698654468116208202023-04-26T12:15:00.211-07:002023-04-30T00:11:21.590-07:00‘A Thousand and One,’ Breaking Down Its Essential Relationships<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-TXpnabo5MFkW5hRt7Ctt5kqQ95rOtrANfGQfZrB_OCaQnJ30kjRF4YfouudpTysV0iFnIPQDNkjeIySQGcGsTxYdGOuXQ3WkTX3bfa5nZ8bcXp4ys0Sbo3PG4Qa-u8toZrUE5ibUVXBCU3G75QFMQN6neC7cR5Xe0e5l02WXD4durkFriI3fuQ/s1214/FD63150D-1806-44D3-AE0E-7131C3B0CCF4.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1214" data-original-width="820" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-TXpnabo5MFkW5hRt7Ctt5kqQ95rOtrANfGQfZrB_OCaQnJ30kjRF4YfouudpTysV0iFnIPQDNkjeIySQGcGsTxYdGOuXQ3WkTX3bfa5nZ8bcXp4ys0Sbo3PG4Qa-u8toZrUE5ibUVXBCU3G75QFMQN6neC7cR5Xe0e5l02WXD4durkFriI3fuQ/s320/FD63150D-1806-44D3-AE0E-7131C3B0CCF4.jpeg" width="216" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>A Thousand and One</i> film poster.</td></tr></tbody></table><p></p><p><i>A Thousand and One</i>— 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. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxm8zZGtYTnmuN52-kiXBIefsDV6rTAwcMbtz8U17ZW7DNtHZ4Q9tigjCFGpwWG7AAMTaFhzT7jQxOM84DhmvoZmDCnk7PLI24JvRklsXDcdj4J77DntxdtYj3B16xW__LjffYDq2Gk-QQE9pW1GzyJ99WtGwGDFXTjB2XWkVTJ7xfnftIhE8zr8U/s1296/88FA9CAF-C60C-48F7-9BCA-7B2149EC1FE8.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="730" data-original-width="1296" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxm8zZGtYTnmuN52-kiXBIefsDV6rTAwcMbtz8U17ZW7DNtHZ4Q9tigjCFGpwWG7AAMTaFhzT7jQxOM84DhmvoZmDCnk7PLI24JvRklsXDcdj4J77DntxdtYj3B16xW__LjffYDq2Gk-QQE9pW1GzyJ99WtGwGDFXTjB2XWkVTJ7xfnftIhE8zr8U/s320/88FA9CAF-C60C-48F7-9BCA-7B2149EC1FE8.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Inez (Teyana Taylor) vows to always put Terry (Aaron Kingsley Adetola) first. DP: Eric Yua.</td></tr></tbody></table><p>The first relationship grounds and builds solid foundation: Inez and Terry. </p><p>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. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo5amfS8rjAEnkJzFViAoGyXvt7wBuIE0D3WXsfbXd0HcAnkSI3zC-Scy5uJ4x0oexrLOhPM4rpMvICrreyHMd6Cdbx-pnwwHAKZxnv0wtw6ta4n3UhC66mTsRfzxg9NJLcT1XMBjrb77I5wqG0A70fJ0zLF3g5KcFeXpkBc_i1ulh-F61_SrtSN4/s1200/898C1F43-9764-40D9-8122-3CEF82B6B281.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo5amfS8rjAEnkJzFViAoGyXvt7wBuIE0D3WXsfbXd0HcAnkSI3zC-Scy5uJ4x0oexrLOhPM4rpMvICrreyHMd6Cdbx-pnwwHAKZxnv0wtw6ta4n3UhC66mTsRfzxg9NJLcT1XMBjrb77I5wqG0A70fJ0zLF3g5KcFeXpkBc_i1ulh-F61_SrtSN4/s320/898C1F43-9764-40D9-8122-3CEF82B6B281.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kim (Terri Abney) instills some wisdom into Inez about picking fights. DP: Eric Yua.</td></tr></tbody></table><p>The second relationship establishes a good BFF: Inez and Kim. </p><p>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. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4fnOUQpMnbgSH1Gc7UxLNfJSJEXcmmo_6nrAzhV2-eiDU88uWE-nrEPwKrXBMtZM4ohJOoGgqHMxlcF1WoQ0peUnTJqIU5jrHdfbw_Dhb3XKhSTkQkPq4Z9qOWLB_SV79v19YaW1oBcETEOiET7BSV8I2Vg7DErbqx2oG7mwXsdb-miVoCWAC0I/s1416/9D402B99-62BF-4194-A9B0-BF5BC009BD76.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="797" data-original-width="1416" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4fnOUQpMnbgSH1Gc7UxLNfJSJEXcmmo_6nrAzhV2-eiDU88uWE-nrEPwKrXBMtZM4ohJOoGgqHMxlcF1WoQ0peUnTJqIU5jrHdfbw_Dhb3XKhSTkQkPq4Z9qOWLB_SV79v19YaW1oBcETEOiET7BSV8I2Vg7DErbqx2oG7mwXsdb-miVoCWAC0I/s320/9D402B99-62BF-4194-A9B0-BF5BC009BD76.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lucky (Will Catlett) and Inez (Teyana Taylor) on their unconventional wedding day. DP: Eric Yua.</td></tr></tbody></table><p>The third relationship showcases the pros and cons of turbulent history repeating itself: Inez and Lucky.</p><p>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.</p><p></p><blockquote>“What do two crooks know about raising a family?” —Lucky </blockquote><p></p><p>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. </p><p>However, Inez and Lucky have one major factor in common: putting Terry at the top of their hierarchy. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdMCYEvqWKLe9Lw4GGjPy5eAV_OreD-O9HycrOR-ARw-Xk7Stzo3JYImx0yB9BUw-6ltT28yHPOQN5JtvoII-nFcfpARpSR61ZQA1CcXIYkSuJf2tyaoEP9eS4LxVoniLqM0tkOvazDPeQEhZrCzi_ySqOTxqbhvSOAHE2GdeDNvow4naal9L09Hs/s1200/C90EDC4B-BC19-4A75-AF2A-CEFB13FCA93E.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdMCYEvqWKLe9Lw4GGjPy5eAV_OreD-O9HycrOR-ARw-Xk7Stzo3JYImx0yB9BUw-6ltT28yHPOQN5JtvoII-nFcfpARpSR61ZQA1CcXIYkSuJf2tyaoEP9eS4LxVoniLqM0tkOvazDPeQEhZrCzi_ySqOTxqbhvSOAHE2GdeDNvow4naal9L09Hs/s320/C90EDC4B-BC19-4A75-AF2A-CEFB13FCA93E.webp" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lucky puts his heart, soul, and music into winning Terry’s heart. DP: Eric Yua.</td></tr></tbody></table><p>The fourth relationship places high value on the father/son dynamic: Terry and Lucky. </p><p>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. </p><p>As witnessed in her beautiful short film <i>Feathers</i> (on the Criterion Channel), <i>A Thousand and One</i> 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. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHDKsx5zcUuSB4LsWOIeVnKuVNc0b2W6AMehgV9gn-3WupAl6QTlVqvtVSjqaZgwW9TaEsoYb6h7Ec9aht-veKs7vaXTpSIi9dQZPPyccPxU-5uZ_1IOR43rnMyrmGb5WJVh3d9OkFHoo8OT0ZUKN1vLjLzwZrYrW2UwxzZQ1xHwkm0apxmPKPlu0/s500/4D3B603A-4CE1-4889-9B80-4A061BA5E8A6.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="281" data-original-width="500" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHDKsx5zcUuSB4LsWOIeVnKuVNc0b2W6AMehgV9gn-3WupAl6QTlVqvtVSjqaZgwW9TaEsoYb6h7Ec9aht-veKs7vaXTpSIi9dQZPPyccPxU-5uZ_1IOR43rnMyrmGb5WJVh3d9OkFHoo8OT0ZUKN1vLjLzwZrYrW2UwxzZQ1xHwkm0apxmPKPlu0/s320/4D3B603A-4CE1-4889-9B80-4A061BA5E8A6.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">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.</td></tr></tbody></table><p>In addition to <i>A Thousand and One</i>’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 (<i>First</i> and <i>Black Lightning</i>) 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. </p><p>The stunning, well-crafted <i>A Thousand and One</i> will leave anyone speechless by its depth and emotionally stirring surprises. </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-47209738601307440832023-04-01T16:22:00.002-07:002023-04-01T16:46:56.231-07:00March 2023 Film Watches<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJZXHGucell3q0IbA4em_d2YTtBI45SsesTqMbDPN4D8tfR5dq39T9sRXSUMQAPA9NxDCymYUumnlJb4jI_Aj7VE2xz06tj9qvtyk1kILtkepjMnTtMNlMmYH-sA-8UWUwWswn0djKMyxoZ6fXDgfjHD_-E6NhWLWa3ZWIy7dvhaJ0Va-ChKTtlNQ/s878/6780C16A-9908-4459-AA7D-7C19FEC1DDAC.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="542" data-original-width="878" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJZXHGucell3q0IbA4em_d2YTtBI45SsesTqMbDPN4D8tfR5dq39T9sRXSUMQAPA9NxDCymYUumnlJb4jI_Aj7VE2xz06tj9qvtyk1kILtkepjMnTtMNlMmYH-sA-8UWUwWswn0djKMyxoZ6fXDgfjHD_-E6NhWLWa3ZWIy7dvhaJ0Va-ChKTtlNQ/s320/6780C16A-9908-4459-AA7D-7C19FEC1DDAC.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A still from Cauleen Smith’s <i>Drylongso</i> (1998).</td></tr></tbody></table><br /><div>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. </div><div>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. </div><div>Recently acquired <i>The World of Wong Kar Wai Collection</i> from the Criterion flash sale and look forward to the release of Barry Jenkins’ <i>Medicine For Melancholy</i> (2008) and Alice Diop’s <i>Saint Omer </i>(2022, still no release date). <br /><br />1.) “Emily” (2023) Frances O’Connor #* 7/10<br /><br />2.) “Pariah” (2012) dee rees *+ 10/10<br /><br />3.) “Thirst” (2009) Park Chan-wook ^ 8.5/10<br /><br />4.) “The Stunt Woman” (1996) Ann Hiu #^* 7/10<br /><br />5.) “The Heroic Trio” (1993) Johnnie To #^ 9/10<br /><br />6.) “Night Fishing” (2011) Park Chan-wook & Park Chan-kyong #^ 7.7/10<br /><br />7.) “Judgment” (1999) Park Chan-wook ^ 9/10 <br /><br />8.) “Far North” (2007) Asif Kapadia #^ 3/10<br /><br />9.) “Yes, Madam” (1985) Corey Heum #^ 6.5/10 <br /><br />10.) “Maya & Her Lover” (2021) Nicole Sylvester #*+ 6/10 <br /><br />11.) “Feathers” (2018) A. V. Rockwell #*+ 8.5/10<br /><br />12.) “Pillars” (2020) Haley Elizabeth Anderson #^ 9/10<br /><br />13.) “Amulet” (2020) Romola Garai #* 6/10<br /><br />14.) “Flowers” (2015) Nikyatu Jusu and Yvonne Michele Shirley *+ 9.5/10<br /><br />15.) “Black Swan Theory” (2011) Nikyatu Jusu #*+ 7.5/10 <br /><br />16.) “20 Weeks” (2017) Leena Pendharkar #*^ 2/10<br /><br />17.) “Say Grace Before Drowning” (2010) Nikyatu Jusu *+ 8/10<br /><br />18.) “African Booty Scratcher” (2007) Nikyatu Jusu *+ 9.5/10<br /><br />19.) “Suicide By Midnight” (2019) Nikyatu Jusu *+ 10/10 <br /><br />20.) “To Be Free” (2017) Adepero Oduye *+ 9/10 <br /><br />21.) “The Disappearance of Mrs. Wu” (2021) Anna Chi #^* 5/10<br /><br />22.) “Drylongso” (1998) Cauleen Smith #*+ 9/10<br /><br />23.) “Fallen Angels” (1995) Wong Kar Wai #^ 7/10<br /><br />24.) “Chungking Express” (1994) Wong Kar Wai #^ 10/10<br /><br />25.) “Executioners” (1995) Johnnie To #^ 7.5/10<br /><br />26.) “Thunder on the Hill” (1951) Douglas Sirk # 9.5/10<br /><br />27.) “Tortilla Soup” (2001) María Ripoll #*^ 8/10<br /><br />28.) “Yellow Fever” (2012) Ng’endo Mukii *+ 10/10<br /><br />29.) “Mtindo”(2018) Ng’endo Mukii #*+ 7/10<br /><br />30.) “Rye Lane” (2023) Raine Allen-Miller #*^ 10/10 <br /><br />31.) “My Friend From the Park” (2015) Ana Katz #*^ 4.5/10<br /><br /><br /># first time watch<br /><br />*woman filmmaker <br /><br />*+Black woman filmmaker <br /><br />^nonwhite filmmaker <br /><br />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.</div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-26617745408107927892023-03-23T16:39:00.987-07:002023-03-24T22:08:21.662-07:00The Short Films of Nikyatu Jusu<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxWIv15CvF6eP0RIs5DAWhwxsBsDSZ4-viGIfiJWvneqHOh-X0fLOHKNWgQagX4vbmUCPffnM8QzsVr5w6jr6NCNME-MSFDlIFlgczQw2yGhMUwsT-9rAzWhC5uCHhMt5Z-7PeC7pJcV8vuLgNRl7xAiD17VChj7CnJBd_wvQ119Y4ri6oYjLt_A/s4000/4A4966A1-711F-4391-851B-C7038768DEE1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2742" data-original-width="4000" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxWIv15CvF6eP0RIs5DAWhwxsBsDSZ4-viGIfiJWvneqHOh-X0fLOHKNWgQagX4vbmUCPffnM8QzsVr5w6jr6NCNME-MSFDlIFlgczQw2yGhMUwsT-9rAzWhC5uCHhMt5Z-7PeC7pJcV8vuLgNRl7xAiD17VChj7CnJBd_wvQ119Y4ri6oYjLt_A/s320/4A4966A1-711F-4391-851B-C7038768DEE1.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The short films of Nikyatu Jusu.</td></tr></tbody></table><p></p><p>As another Women’s History Month comes to a close, a tremendous blessing has been revisiting Nikyatu Jusu’s phenomenal work. She has four short films available to stream on the Criterion Channel: <i>Flowers</i>, <i>Say Grace Before Drowning</i>, <i>African Booty Scratcher</i>, and <i>Suicide By Sunlight</i>. Meanwhile, <i>Black Swan Theory</i> is available on Vimeo. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWMi5ZGa-Nbhgkm_VFXwPIUE6VLoYInZBsUUYrt8_vB54k4e8DQsafkBj8ANnCb-YwR31J49wRhKBLRNc_pJBGQIlFHlFe3dVLIX6TIBo349c2Dc6QDk_P8zxmMeBjf1FRk_A9zYD5H6YySaJuFnr1vti52crqpP03cy-fB7MQACMHPxseSNiPU5E/s3400/D70530BC-8CB6-4603-97AC-200EE3100913.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2471" data-original-width="3400" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWMi5ZGa-Nbhgkm_VFXwPIUE6VLoYInZBsUUYrt8_vB54k4e8DQsafkBj8ANnCb-YwR31J49wRhKBLRNc_pJBGQIlFHlFe3dVLIX6TIBo349c2Dc6QDk_P8zxmMeBjf1FRk_A9zYD5H6YySaJuFnr1vti52crqpP03cy-fB7MQACMHPxseSNiPU5E/s320/D70530BC-8CB6-4603-97AC-200EE3100913.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mya (Amee Apedo) and Erin (Belle Legrand) survive a very dangerous situation in <i>Flowers</i>. DP: Jamal Solomon. </td></tr></tbody></table><p>In <i>Flowers</i> (2015)— co-directed and co-written with Yvonne Michelle Shirley— Mya and Erin set out to avenge Mya’s honor nearly tarnished by her white male tutor, Mr. Ryan. After all, Black girls are not often believed when assaulted. It would be her word against his and hers would bear less weight. Even the ease Mya enters his secure home raises questions. He trusts her like that? Clues reveal Mr. Ryan before he even arrives— mainly the brown baby on his refrigerator. So, he has a taste for Black women, eh? </p><p>When the tension surmounts near the end, an unhinged Mr. Ryan becomes a greater villain, having no problem inflicting sexual <i>or</i> physical assault on Black girls. Has he done this before? Put his hands on the defenseless? His own unseen partner, pregnant with his second child? Through a red haze, he’s only thinking that Erin may destroy his reputation. Heart-pounding fear intensifies for Erin as the adult and teen fall on the floor battling over her phone. How far will both go for control? Mya returns, standing in complete shock at this escalated violence. Gratefully, Mya does not film this— her own tutor taking away her best friend’s agency; stripping away Erin’s earlier candor. The girls have played a hot gamble and they must leave before the flames burn any brighter. </p><p>Mya and Erin both experienced abuse by the hands of Mr. Ryan— traumatic in different ways and would impact their friendship forever. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2VdKh5amnZ9xq894zCnAAv_VG0Rg0mn5tZLGFWqrWpFGA91M0iJsZZI_0M4aWCHc23SS7R8deMfL7IEDX3HOiIpRi9axF8FHYMtDVR3WJ-t59elETpW-Qn-9HWsA_RVDzvqJUgbmJ3YVTjD1RUofUg8KL5QxA5kyV9_0SfbU80k9PPr8YY_rzWVE/s3382/03CA9CD4-8724-44C8-9164-5A6C36906A77.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1778" data-original-width="3382" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2VdKh5amnZ9xq894zCnAAv_VG0Rg0mn5tZLGFWqrWpFGA91M0iJsZZI_0M4aWCHc23SS7R8deMfL7IEDX3HOiIpRi9axF8FHYMtDVR3WJ-t59elETpW-Qn-9HWsA_RVDzvqJUgbmJ3YVTjD1RUofUg8KL5QxA5kyV9_0SfbU80k9PPr8YY_rzWVE/s320/03CA9CD4-8724-44C8-9164-5A6C36906A77.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Grace (Ellie Foumbi, director/writer of the buzzy <i>Our Father, the Devil</i>) is impressed that her daughter Hawa (Dennise Gregory) can read well in <i>Say Grace Before Drowning</i>. DP: Daniel Patterson.</td></tr></tbody></table><p><i>Say Grace Before Drowning</i> (2010) sheds light on Grace, a sexual assault survivor— narrated from the point of view of Hawi, her daughter. Hawi was the first to leave their country, sheltered by Grace’s sister Aisha and her husband Chris. Upon Grace’s arrival, everyone treats her with special care, including Chris who’s touchy-feely actions trigger Grace’s assault. Her reactionary behavior stems from untreated memory dissociation, a mental disorder that stems from heavy, undisclosed trauma. Often, a withdrawn Grace disappears within herself and brightly returns to being Hawi’s mother, braiding her daughter’s hair, complimenting her reading, and sleeping beside her at night. </p><p>By mistaking Chris’s kindness, Grace may be reminded of the soldiers’ mistreatment. After the family pool trip in which Chris teaches Grace to swim, she sets out to seduce her brother-in-law. During a spaghetti meal that Chris is preparing, Grace grinds on him during a song— right in front of Hawi. Grace transforms into her aggressive attackers launching herself at Chris, refusing to take “no” for an answer. In an assault as detrimental as sexual harm, power and domination over the body is essentially the key. Grace wants to repeat that history, but with herself as the wielder of power and domination over Chris, blind to consequences, to Aisha and Hawa’s feelings. Did the soldiers consider Grace’s family or their own wives, girlfriends, daughters as they violated Grace? </p><p>Hawi hears the screaming match between Grace and Chris and abandons the spaghetti to see what the fuss is about. Spaghetti, when not watched and stirred frequently, gets clumped together, uneasy to eat. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDV7q_KpS9zTJTQ2YA4oHWsC1l0WGCSMyDGvWnPC2NgAfUZMSwz2lXbIu4NF3CAX8G-zQAjhxmIabyLuxG1d2y3qMs2yQyuUuSirjHZZMZ349ZhZjHKUBIcLYUUkL6UAzOFF_2wLZB6rsBdHVUxwCIa2VEdaPBw8VblGTfYATlArhVoEUNR3wNdo/s750/87B9F9E8-6B76-419D-A033-571F607A5F09.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="750" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDV7q_KpS9zTJTQ2YA4oHWsC1l0WGCSMyDGvWnPC2NgAfUZMSwz2lXbIu4NF3CAX8G-zQAjhxmIabyLuxG1d2y3qMs2yQyuUuSirjHZZMZ349ZhZjHKUBIcLYUUkL6UAzOFF_2wLZB6rsBdHVUxwCIa2VEdaPBw8VblGTfYATlArhVoEUNR3wNdo/s320/87B9F9E8-6B76-419D-A033-571F607A5F09.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Toby (Angela Burnett) longs for her ancestral foundation. DP: Charles Burnett.</td></tr></tbody></table><p>Hawa almost shadows Toby in Alile Sharon Larkin’s <i>Your Children Come Back To You</i> (1979)— story about a child wishing for a Black world whose mother too frequently dissolves into deep depression, neglecting Toby in the process. Whereas Hawi has her aunt Aisha, Toby has a compassionate grandmother. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdJhDZMzI0nG_oRLZbCMBOMBmHZEhcnRZ6ck_8xsU7_kn3A10Res4MR20_Zc1iO-hBWH_aFICgS5aOdwv032DfQyhgLwVaNgoE6wml14nGQA-4Ggu_Gr_dfZUUkoMrjMQ5P49y3siVbo-NjJeL_4o2XPPmgvm4Y4JkTTj_k0TXEU_rMeYnOvMWyOQ/s2518/B470525F-F0F7-478E-8EEA-AF632C452623.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1366" data-original-width="2518" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdJhDZMzI0nG_oRLZbCMBOMBmHZEhcnRZ6ck_8xsU7_kn3A10Res4MR20_Zc1iO-hBWH_aFICgS5aOdwv032DfQyhgLwVaNgoE6wml14nGQA-4Ggu_Gr_dfZUUkoMrjMQ5P49y3siVbo-NjJeL_4o2XPPmgvm4Y4JkTTj_k0TXEU_rMeYnOvMWyOQ/s320/B470525F-F0F7-478E-8EEA-AF632C452623.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Abbie (Ebbe Bassey) and her teenage daughter Isatu (DeWanda Wise) reach an important solution to the prom in <i>African Booty Scratcher</i>. DP: Daniel Patterson.</td></tr></tbody></table><p><i>African Booty Scratcher </i>(2007), an earlier Jusu work, gets its title from an offensive, known and well-traveled taunt. The short stars DeWanda Wise as Isatu, a teenager looking forward to prom. Her hard-working immigrant mother Abbie wants Isatu to wear a traditionalist gown broadcasting her heritage. Isatu’s peers negatively blast anything associated with Africa. Thus, a tradition as American as apple pie, the prom is the biggest event in a young girl’s life— the fashion statement made here can either elevate your status or bring you down. Of course, Isatu believes that wearing a typical name brand designer would have all eyes on her.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjt0m6ZAwu-tGEhTO2zlNQl-KKDVErJ9fhQ3C7Axg4hpgarOStoq21P-VAnnkW25RVWDFiUQX-0cLJif4ThiEfmiVmTdAPoe19-FsaCbfM-TbfJYaWXKzBKcUdxaD09rHpMx8av_kQQyhDZdH4Me1E-ZyAyv3VvHJjWkvaJ2Vr39kefw8jHEgDoOM/s2461/AE2713B0-5B3F-4ACF-B56A-C2342B8245C7.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1378" data-original-width="2461" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjt0m6ZAwu-tGEhTO2zlNQl-KKDVErJ9fhQ3C7Axg4hpgarOStoq21P-VAnnkW25RVWDFiUQX-0cLJif4ThiEfmiVmTdAPoe19-FsaCbfM-TbfJYaWXKzBKcUdxaD09rHpMx8av_kQQyhDZdH4Me1E-ZyAyv3VvHJjWkvaJ2Vr39kefw8jHEgDoOM/s320/AE2713B0-5B3F-4ACF-B56A-C2342B8245C7.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Terence Nance cameos as the mean teen who dumps Isatu via note. What a class act. DP: Daniel Patterson.</td></tr></tbody></table><p>At Abbie’s restaurant (serving jollof rice and stews), Isatu works cleaning tables and waitressing in order to obtain money for her dream dress. Isatu sees firsthand that the teasing from schoolmates is nothing compared to how some Black adults look down on African immigrants, a seething hatred that manifests into verbal malice. A potential customer disrespects Abbie and their food in the process— further claiming that the Asians know what Black Americans desire more than the Africans. This avenue plays into Isatu’s own Americanized thought process— her laughing at the girl with the “African Booty Scratcher” card on her back, her preference for pasta over jollof rice, her reaction to the gown Abbie made for her. Perhaps Isatu too will become as bitter as the stranger, turning her back on her ancestral background for the comfort of fried food. Unfortunately, her mental institution has already begun.</p><p>Isatu realizes that she too has participated in Abbie’s humiliation. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpVcA-FkvqeWpdkkg167VnWsme5x6vCXmJloo4UeXorHSiocYKwDx0mLlCKBLIkEGl_1hz-mW5TQ7InrSSltnkpYeEFCm7CIuwubWz4xrg5i2ukClf77XpMMvqoDr6BS8VrHWJSYqLVPfRk39zjHcCkyeIzolpSGZ9RYqg6_PsmYWnj7OukRAi2a8/s1946/0AB2000B-4DA6-4093-98A9-60AED0BB034E.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1946" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpVcA-FkvqeWpdkkg167VnWsme5x6vCXmJloo4UeXorHSiocYKwDx0mLlCKBLIkEGl_1hz-mW5TQ7InrSSltnkpYeEFCm7CIuwubWz4xrg5i2ukClf77XpMMvqoDr6BS8VrHWJSYqLVPfRk39zjHcCkyeIzolpSGZ9RYqg6_PsmYWnj7OukRAi2a8/s320/0AB2000B-4DA6-4093-98A9-60AED0BB034E.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mind-enhancing cocaine allows Sonya (DeWanda Wise) to blur her world in order to cope with her past life as a sniper. DP: Hans Charles.</td></tr></tbody></table><p>The dark, disturbing<i> Black Swan Theory</i> (2011)— also starring Wise— focuses on as Sonya, a murder for hire dressed in black sporting a killer braided faux hawk hairstyle. This avant-grade experimental piece has an Afro futuristic meets parental advisory video game aesthetic. Sonya high on drugs and strapped for cash, takes on a murder-for-hire job. Already, she’s imagining killing someone— in a crueler affliction that implies personal vendetta versus a flying bullet. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3jU6mSo1LJUDoQsNZLQMumoILir_4mkt90dN9njZaRoNpdisYQgQrv7gcDQJyoRNpV6r-SuMDEPDbtJJpI8oDtMiS0xYpiov1P-Yqxmw1qZiyFi-aOs9eOc9PvETTWAgmZy2e3QcnlPmFg2SQqX5WROsLZhs4BcBCOE2jmQ6tusMc9-0mvJpuDo/s1880/05A03AD2-88B1-4825-B5E8-00138FDB4105.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1880" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3jU6mSo1LJUDoQsNZLQMumoILir_4mkt90dN9njZaRoNpdisYQgQrv7gcDQJyoRNpV6r-SuMDEPDbtJJpI8oDtMiS0xYpiov1P-Yqxmw1qZiyFi-aOs9eOc9PvETTWAgmZy2e3QcnlPmFg2SQqX5WROsLZhs4BcBCOE2jmQ6tusMc9-0mvJpuDo/s320/05A03AD2-88B1-4825-B5E8-00138FDB4105.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The men (played by Erik Clancy, Jeevan D’Souza, Stephen Hill) receive code names straight out of college textbooks—Italian renaissance artist/theorist/engineer Leonardo Da Vinci, French playwright/political activist/critic/existentialist philosopher Jean-Paul Sartre, and German poet/philosopher/composer Friedrich Nietzsche. DP: Hans Charles.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitxVL7N24_pqa443rAjqIHD0KXb_iuh5z_KUY5V7Tp0gusAI3cxdr4rIdTzvKM3CgZpCF-g_99TfVwsLEPeJiT2yEUKeowiY1Qp3yUFkBPisk3NVVSdHROndPH-DhSh22P_Na4QFUjhWqvtVCx9l4lXLUDZA935pFNMBcvDEG9aFhxIxrRyK5bs2w/s1836/06A2C729-CBED-4702-B222-319671F22CB2.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1836" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitxVL7N24_pqa443rAjqIHD0KXb_iuh5z_KUY5V7Tp0gusAI3cxdr4rIdTzvKM3CgZpCF-g_99TfVwsLEPeJiT2yEUKeowiY1Qp3yUFkBPisk3NVVSdHROndPH-DhSh22P_Na4QFUjhWqvtVCx9l4lXLUDZA935pFNMBcvDEG9aFhxIxrRyK5bs2w/s320/06A2C729-CBED-4702-B222-319671F22CB2.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Meanwhile, Sonya’s code name Black Swan lacks that same consideration. DP: Hans Charles.</td></tr></tbody></table><p>If there are therapeutic outlets for abuse survivors, do those who killed in the name of their country also have support? What therapist could possibly empathize with cold-blooded murder— even under the semblance of justice? How does a society expect veterans to navigate with normal mental/psychological capacity? Furthermore, Sonya has photographic memory. Even if she shot one person, that image rests in her mind forever. </p><p>Seemingly without support beyond Jordan— her ex and former military comrade coping with the past in his own way— Sonya takes an assignment reminding her of the only skill she acquired whilst overseas. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBOFyGV-Vz1h5MDM656VhGx8AYgfS7hPsqv9uM0mKPQBdxhqHFEwo55K8m7vTY9rrhxpAYPv2cO6m9O7j78-6Gn864-9S1agPQjL2BTC-SPdoiEtiZKYfOwalMfDz5WxvlhslgbZV1LlTkFirEAWgwHKCNhGhqH2DotsFDIcuo_zRckEI7t94Yx4/s1816/3E66352B-F964-4319-8988-C1756CF72F83.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1097" data-original-width="1816" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBOFyGV-Vz1h5MDM656VhGx8AYgfS7hPsqv9uM0mKPQBdxhqHFEwo55K8m7vTY9rrhxpAYPv2cO6m9O7j78-6Gn864-9S1agPQjL2BTC-SPdoiEtiZKYfOwalMfDz5WxvlhslgbZV1LlTkFirEAWgwHKCNhGhqH2DotsFDIcuo_zRckEI7t94Yx4/s320/3E66352B-F964-4319-8988-C1756CF72F83.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Valentina (Natalie Paul) in the subway in <i>Suicide by Sunlight</i>. DP: Daisy Zhou.</td></tr></tbody></table><p><i>Suicide by Sunlight</i> (2019) currently sits at number one on a list of short films that could be excellent full-length features. Seriously. An amazing film about Black vampires— without the Marvel comic book associations or Eddie Murphy antics. In this incredible world, vampires with melanin have the unique gift of walking through sunlight unscathed and those lacking die by the sun rays if they choose to be brave (or stupid). The shots on Black vampires glowing in the day are stunning; as though the still images bring the style of Gordon Parks to a vivid, creature-feature technicolor. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVEO4I59xA92g0CtpZn1VuFyC_mX-feRWcu7VN1n8rPYzgbgl5asHC4ShUbP677Yp_Ha9-VopHY6IEUqsPRbCLaqxGTnJB4I0NSTXmX6h-LqABvPkNLpogpZVmiJe8njnc4MdKStjoFYRgq9PZTFmWV-pf5vC180Em1o4yQENyUwzUbGf4M9oYI8E/s3282/A126CEEC-0CE5-423D-8E84-EB73490B5F52.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1843" data-original-width="3282" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVEO4I59xA92g0CtpZn1VuFyC_mX-feRWcu7VN1n8rPYzgbgl5asHC4ShUbP677Yp_Ha9-VopHY6IEUqsPRbCLaqxGTnJB4I0NSTXmX6h-LqABvPkNLpogpZVmiJe8njnc4MdKStjoFYRgq9PZTFmWV-pf5vC180Em1o4yQENyUwzUbGf4M9oYI8E/s320/A126CEEC-0CE5-423D-8E84-EB73490B5F52.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Valentina tries to see her daughters, but their father refuses to relent. DP: Chloe Zhou.</td></tr></tbody></table><p>Gorgeous, stylish nurse Valentina juggles her career, bloodlust, and motherhood. She cares deeply for cancer patient Micah, a little boy on the cusp of death. Micah is around the same age as Valentina’s two daughters Hope and Faith and ex Langston makes it impossible for Valentina to see them. He’s part of those in town deadset against the vampires, not realizing that their precious daughters are not excluded— a whole new perspective on the one drop rule. </p><p>Valentina balances her nursing duties; withholding a ferocious hunger that her co-workers and patients know nothing about. At night, however, her lust is insatiable— deadly seductions turn into passionate clenches of her razor sharp fangs piercing flesh. Shockingly, though, Valentina pukes it all up, looking as guilty as Buffy’s ex-boyfriend Angel— the redemptive vampire with a soul. </p><p>When Valentina discovers that Langston has introduced a new woman to Hope and Faith— perhaps as some misguided attempt to replace Valentina and give the girls a makeshift nurturing he himself cannot provide— Valentina decides to give him a lesson. In the process, Valentina shares who they truly are to both Hope and Faith. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-LTZbjBFCp1hk5qCGCFAanMtk4ROo2CNetbdqCb6m5ZtVUfciZRBBb-OVwpN0vVoeceBKQjQ0fFig0q6FmNMvdVCe7xAYyWoOb1vQB-_5JevkK6YLhU-WEt7bJz_j-H4Z1vorqaTmj3EP1FbRm4ZwpR0dwubzlEAeHVfPeuh6JTgMC0fOlhqJk8/s3464/B850411D-E3CD-45B0-8A56-B5DE2B5220A8.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1917" data-original-width="3464" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-LTZbjBFCp1hk5qCGCFAanMtk4ROo2CNetbdqCb6m5ZtVUfciZRBBb-OVwpN0vVoeceBKQjQ0fFig0q6FmNMvdVCe7xAYyWoOb1vQB-_5JevkK6YLhU-WEt7bJz_j-H4Z1vorqaTmj3EP1FbRm4ZwpR0dwubzlEAeHVfPeuh6JTgMC0fOlhqJk8/s320/B850411D-E3CD-45B0-8A56-B5DE2B5220A8.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Don’t ever cross Valentina. A beloved mother would do anything to see her children. DP: Daisy Zhou.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNMowqdv_YEmJ-9uhAVagnXutfJda-Ywh5FE4tvp-qKXxCyCVsKxTk5HGVorSXmhuy0nNtmtHrdoGfhvSyGdRveOHP4RIEtIoWV4YzqFOrR3cDgXl52UErBZJCL6r9yxg5ROykvcj6YXbet6LnrV925bd0Y9zQTGkzt0O8ZaxnJPvP9JbpDsankwo/s3184/15A80490-E67D-4EC8-B895-13E6C717C762.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1884" data-original-width="3184" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNMowqdv_YEmJ-9uhAVagnXutfJda-Ywh5FE4tvp-qKXxCyCVsKxTk5HGVorSXmhuy0nNtmtHrdoGfhvSyGdRveOHP4RIEtIoWV4YzqFOrR3cDgXl52UErBZJCL6r9yxg5ROykvcj6YXbet6LnrV925bd0Y9zQTGkzt0O8ZaxnJPvP9JbpDsankwo/s320/15A80490-E67D-4EC8-B895-13E6C717C762.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The girls Hope (Juniah Williams-West) and Faith (Madison Spicer) trust in their mother. DP: Chloe Zhou.</td></tr></tbody></table><p>Jusu’s five short films are well-crafted, sophisticatedly put together and beautiful as a whole oeuvre. All four cinematographers—Jamal Solomon, Daniel Patterson, Hans Charles, Chloe Zhou— captured the rich, multifaceted variations of Black skin in exceptional styles that would make Bradford Young proud. In addition to the experience, it is lovely to see that the same names continue popping up in the credits— Yvonne Shirley (sound mixer on <i>African Booty Scratcher</i> and <i>Say Grace Before Drowning</i>), Terrance Nance (guest actor, producer/title card maker, renaissance Da Vinci, etc), and quadruple threat Jusu editing and production designing. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQcTrhDFtH87Ia3X4lzx_sUY8K9tjdwr0M8ZX7DGbVDcHzSa1WFo0iMxkf1wwC5kCyn8Mocf_XyxoG0qU14syhlBQS8ELV906PySCkqRZ1mrp2FANO20eqr1VGxjgfZWzgBOpbdxwmMeSjHl0WP51R194DyF2ZOigxM8vH27wavMmXHJFof8GbHlI/s2736/B2D61708-5928-43D5-9CD2-D4EEA8EE7875.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1585" data-original-width="2736" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQcTrhDFtH87Ia3X4lzx_sUY8K9tjdwr0M8ZX7DGbVDcHzSa1WFo0iMxkf1wwC5kCyn8Mocf_XyxoG0qU14syhlBQS8ELV906PySCkqRZ1mrp2FANO20eqr1VGxjgfZWzgBOpbdxwmMeSjHl0WP51R194DyF2ZOigxM8vH27wavMmXHJFof8GbHlI/s320/B2D61708-5928-43D5-9CD2-D4EEA8EE7875.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hawa playing in her mother’s makeup as young girls love to do. DP: Jamal Solomon.</td></tr></tbody></table><p>“The Oscars are not my center,” Nikyatu Jusu recently said on the Independent Spirit Awards carpet—a valid statement to speak against an industry placing the Academy Awards above all others— the symbolism of “making it” in the filmmaking art. </p><p>Yet, that problematic space relies heavily on its white cinematic history repeating over and over; an institution excluding Black women for years, continuing to nominate the same folks filling the <i>Guinness Book</i> with their record victories. So, even if they fail every year to recognize Black women’s talents onscreen and behind-the-scenes, the audience desires to see themselves reflected, most importantly by women who mirror them, who know their pains and joys, not stories from the anthropologist lens dominating our cinematic experience for far too long. </p><blockquote>“I’ve done a lot of spiritual, intellectual, physical labor, being in predominantly white spaces for my entire life. So now allow me to just focus on the work. But everything comes with a price. Money’s never free; success is never free.... the more breaks I have for myself, the more I’m like, <i>Do I want to be part of that machine and do everything that comes with that? Or do I want to make something I truly believe in every few years and still teach and have my little quiet house and live below my means?</i> The more you see of the figurative monster that is the industry, the more you assess what you’re willing to do to get what other people have gotten.”— Nikyatu Jusu to film critic Angelica Jade Bastién in <a href="https://www.vulture.com/article/nikyatu-jusu-nanny-profile.html">Vulture</a></blockquote><p>Jusu’s works matter. Every last one. Her brilliant feature-length debut <i><a href="http://femfilmrogues.blogspot.com/2022/01/nanny-addresses-terrifying-price-of.html" target="_blank">Nanny</a></i> included. Brown and dark-skinned women star across genres that usually exclude them. Horror rarely ensures their survival. Jusu sets the wrongs to rights, presenting Black women and girls in either unaddressed community topics or imaginative scenarios that broaden the modular spectrum. She utilizes key elements to a solid cinematic experience: breathtaking stories, compelling cinematography, and fresh talented actors/actresses, ensures that the audience will be wholly invested. Plus, the casting stays excellent— friends having believable chemistry, mothers/daughters looking alike. </p><p>Whether Nikyatu Jusu makes another short film between her booked schedule of two feature-length films, whatever comes next will be well worth the wait. The representation of Black girls and women are safe in her capable hands. </p>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0tag:blogger.com,1999:blog-1494871759345138496.post-55868651344732521032023-03-19T22:30:00.888-07:002023-03-22T16:27:13.100-07:00The Remarkable Journey of Darla Sutton-Bordelon <p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBr9Rw0b5fId55z0Kr-sCCLLi-znI20tIBa_z6ea8ifIDeKlaUpCb-4y-yrZF7NtrJn1ohlsaDJCUzNh9YNEBjAo2Z6zlhWisXPugSJSAKn4VVWY9BxfHjVM-VvY1hUTTKqxxzED7t_hwfWU7ErGjvoQ4B5rIEHHgLrRHFBvhDkvtVjwBr36k_kqA/s2160/8E471294-CE47-4D1F-8D26-471D381BA2EA.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2160" data-original-width="1973" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBr9Rw0b5fId55z0Kr-sCCLLi-znI20tIBa_z6ea8ifIDeKlaUpCb-4y-yrZF7NtrJn1ohlsaDJCUzNh9YNEBjAo2Z6zlhWisXPugSJSAKn4VVWY9BxfHjVM-VvY1hUTTKqxxzED7t_hwfWU7ErGjvoQ4B5rIEHHgLrRHFBvhDkvtVjwBr36k_kqA/s320/8E471294-CE47-4D1F-8D26-471D381BA2EA.jpeg" width="292" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla definitely deserves to be included among Best Television Character Journeys of All Time lists. </td></tr></tbody></table><p>Almost seven years ago, <i>Queen Sugar</i> delivered Darla Sutton-Bordelon, one of the bravest character journeys ever depicted on television. The extremely attentive details come solely from the poignant written components of the former drug addict adapting to society <i>and</i> the incredibly gifted Bianca Lawson’s underappreciated efforts of rendering such a fragile turned resilient woman. </p><p>This essay sheds light on Darla’s countless obstacles and how she faced them. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxumLFmW5sWq0zGDa0MV_8vImRsvpCAHQWPFsiCiolDiG3JeFxV7ExDIyeUubnNVA47YgZuEWzNhotPik6Sm00lFU8b5KfSkC82mgibaxPcYG2jRlN3-txLH2hN0I0PC68-sqblGjQahPKQdmtqaIy9HE-VF-7mZOs0btnv1gr_Pd3JNAmm0cqO18/s2757/5708199A-DB66-438C-8D4E-90E6103A4E34.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1658" data-original-width="2757" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxumLFmW5sWq0zGDa0MV_8vImRsvpCAHQWPFsiCiolDiG3JeFxV7ExDIyeUubnNVA47YgZuEWzNhotPik6Sm00lFU8b5KfSkC82mgibaxPcYG2jRlN3-txLH2hN0I0PC68-sqblGjQahPKQdmtqaIy9HE-VF-7mZOs0btnv1gr_Pd3JNAmm0cqO18/s320/5708199A-DB66-438C-8D4E-90E6103A4E34.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla (Bianca Lawson) recites a metaphorical “fairy tale” to Blue as Ralph Angel watches from the doorway in season one, episode eight’s <i>Where With All</i>, written by Tina Mabry and directed by Kat Candler.<br /></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZb-iyI92YgGRks5z3VG92h7qlZ4D7E9ospYD3UOsto0wg4JO1mKPKCBSwRf0kWS7SGGmrrNCKFGuiLFBVEc5H5az_wQR9G2W4laoZP9RyvGZ0ihEvpkevugVL6f_2lQr7OLhcj9PSTnek0NRyaiFHuw4S1Mk1lWKZUe068FIWUr-N_QBfNh8nmU/s3392/6B8E5301-22D8-42D3-A6B0-E4A5AFBD91B5.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1941" data-original-width="3392" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZb-iyI92YgGRks5z3VG92h7qlZ4D7E9ospYD3UOsto0wg4JO1mKPKCBSwRf0kWS7SGGmrrNCKFGuiLFBVEc5H5az_wQR9G2W4laoZP9RyvGZ0ihEvpkevugVL6f_2lQr7OLhcj9PSTnek0NRyaiFHuw4S1Mk1lWKZUe068FIWUr-N_QBfNh8nmU/s320/6B8E5301-22D8-42D3-A6B0-E4A5AFBD91B5.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla (Bianca Lawson) and Blue (Ethan Hutchinson) are always so beautiful together. </td></tr></tbody></table><br />In the first season, Darla has been clean and sober for almost two years. She has a steady job and is happy to be allowed to babysit her son, Blue during Ernest’s funeral. Darla’s past often overshadows her continued efforts to be in Blue’s life. That stain comes with addiction. Even when someone comes out the program, conducting the proper steps, to regain trust is difficult. <div><br /><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI7G8LthlpQ0l_oqOBiuBScj5RR_03_z9QWj1AlXpJDXPhUZaCaLOOVEoerMdD0YJEgn9dbVsJVmUh1kgUlFoKWNyFBz9Dl4zihkyUAMj_9uWPnH4JX4cEmuM7i21-L7WCQcDOkyYIqxBIguBQZHP-h7tlPuJdjhWTvAsuZc6taPR3kSkdasBzcwI/s3487/7379CF68-6984-4180-9FAE-38D9B08E672C.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2642" data-original-width="3487" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI7G8LthlpQ0l_oqOBiuBScj5RR_03_z9QWj1AlXpJDXPhUZaCaLOOVEoerMdD0YJEgn9dbVsJVmUh1kgUlFoKWNyFBz9Dl4zihkyUAMj_9uWPnH4JX4cEmuM7i21-L7WCQcDOkyYIqxBIguBQZHP-h7tlPuJdjhWTvAsuZc6taPR3kSkdasBzcwI/s320/7379CF68-6984-4180-9FAE-38D9B08E672C.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">“These past eighteen months, I have been clean… I want to thank you. I never got the chance to say ‘thank you, Mrs. Violet.’ You saw me at my lowest, you saw me in hell. I didn’t even want to exist anymore. Not breathe. Not see. Not hear. Love couldn’t even reach me. And you picked up my baby gently… you could have yelled at me and cursed me, but I remember you covering me up and saying, ‘God bless you, girl.’”— Darla to Vi (Tina Lifford) and Hollywood.<br /><br /></td></tr></tbody></table></div></div><div>The Bordelon family has troubles fully accepting Darla. </div><div><br /></div><div>Violet’s grudge is Darla’s biggest hurdle, considering that she is the primary guardian of Blue. Vi’s mind remains haunted by Darla’s darkest, shameful moment. Out of the people she has hurt and harmed the most, Vi is the impenetrable, unforgivable barrier to cross. Vi’s detrimental behavior during the hurricane—wanting Ralph Angel to kick Darla out in the middle of terror— problematic at best. However, Vi says to Charley that the cheating, lying, monstrous Davis has a right to be in Micah’s life while loudly blasting Darla for trying to be a mother to Blue. Ralph Angel calls out her hypocrisy (which is quite patriarchal). Yet heavy foreshadowing comes into play here. In addition to the cheating, Charley ended her marriage to Davis due to him paying his friends to rape a sex worker. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTuG2RKrs8N2hpJozTqaKZpvu881lOa64TUK_a49Oto3hjR7VPOnIENojhHDlPwYU894b8JZoellVQWea-l6YiNS74NU5Jkhl3x3e6rLwFfEPrB8Q2YyyKfJJzMqEGfELQni9PYDup875CjY38plJI_GX5i4R4zFtQwDeyUTjolyHIMagtJqW5ETA/s3441/AED2D62D-D50B-42D2-A30D-699161291E63.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2039" data-original-width="3441" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTuG2RKrs8N2hpJozTqaKZpvu881lOa64TUK_a49Oto3hjR7VPOnIENojhHDlPwYU894b8JZoellVQWea-l6YiNS74NU5Jkhl3x3e6rLwFfEPrB8Q2YyyKfJJzMqEGfELQni9PYDup875CjY38plJI_GX5i4R4zFtQwDeyUTjolyHIMagtJqW5ETA/s320/AED2D62D-D50B-42D2-A30D-699161291E63.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla and Ralph Angel tell Blue that they’re getting married in season two, episode nine’s <i>Yet Do I Marvel</i>, written by Jason Wilborn and directed by Julie Dash.</td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRL4VYWL_xNvluZmCDuuuodHBOaU_29cYcrfw55hVLu3rryBH9AnjpA-Khc0BzF8FOYLaNjmV7IMmTIeKZW0pBROsunPDMpcfGzCFFOFQOGWyPOckb6hsYmj3Wx3zVDNuE08Ag8mK5l5_BI0Q5ydxmRrSqbnfF3ljfQcIQh4l-EevHR3umlr8XWU/s2160/1E1CC9C0-A38D-4EDD-B864-C9040112AE28.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1172" data-original-width="2160" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRL4VYWL_xNvluZmCDuuuodHBOaU_29cYcrfw55hVLu3rryBH9AnjpA-Khc0BzF8FOYLaNjmV7IMmTIeKZW0pBROsunPDMpcfGzCFFOFQOGWyPOckb6hsYmj3Wx3zVDNuE08Ag8mK5l5_BI0Q5ydxmRrSqbnfF3ljfQcIQh4l-EevHR3umlr8XWU/s320/1E1CC9C0-A38D-4EDD-B864-C9040112AE28.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla confides in Charley about trying to reach her parents in season two, episode ten’s <i>Drums At Dusk</i> written by Valerie Chu and directed by Julie Dash. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCTJHmoD7g3x315Cy1S7cqzP8aFJ4qPLqYNnkETzjpJog8w4H4Tt4TGylV9UU8VO3NXWvoDVBSPZYcVve8t1iPgHWf4j03InEYLbRgLa6Nakql8lFLKucKEDmcnbX_GDWv7N_dLWjBiOmwhdeZ3zxQ1NuCATb5XiupxvNCAlYJMQbxf9s_ou2B7lM/s3017/6081967F-1F98-44A0-8266-41BA790817B5.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2138" data-original-width="3017" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCTJHmoD7g3x315Cy1S7cqzP8aFJ4qPLqYNnkETzjpJog8w4H4Tt4TGylV9UU8VO3NXWvoDVBSPZYcVve8t1iPgHWf4j03InEYLbRgLa6Nakql8lFLKucKEDmcnbX_GDWv7N_dLWjBiOmwhdeZ3zxQ1NuCATb5XiupxvNCAlYJMQbxf9s_ou2B7lM/s320/6081967F-1F98-44A0-8266-41BA790817B5.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Unfortunately, a big problem for Ralph Angel and Darla lies in throwing each other’s past mistakes as missiles. Although they love each other deeply, some wounds are still not fully healed. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGg7-I2q8o8HvV9-4DMmttMKOo0FAeV7-NXbjSPs13Cj0sZ65fGUtn-OhD0LZzYspap5mBSLc_o5BkH4N5_yAZJ1VgPTW6CabKxsdMhR5UKuDrQl7sqVR9cD1OLcrKSWHmt8ku06veolJ8-OV78NaJOblf0h3-e_2woZzmMc8nEUHw8iLWQnnQ9wY/s2775/E9DAA406-B474-49B1-849B-A3971CA87B3A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1869" data-original-width="2775" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGg7-I2q8o8HvV9-4DMmttMKOo0FAeV7-NXbjSPs13Cj0sZ65fGUtn-OhD0LZzYspap5mBSLc_o5BkH4N5_yAZJ1VgPTW6CabKxsdMhR5UKuDrQl7sqVR9cD1OLcrKSWHmt8ku06veolJ8-OV78NaJOblf0h3-e_2woZzmMc8nEUHw8iLWQnnQ9wY/s320/E9DAA406-B474-49B1-849B-A3971CA87B3A.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ralph Angel reluctantly agrees with Darla to undergo pre-marital counseling. They both selected communication as their biggest concern in season two, episode eleven’s <i>Fruit of the Flower </i>written by Dana Greenblatt and directed by Cheryl Dunye.</td></tr></tbody></table><br /><div>The second season, Darla becomes more radiant and healthy; her look partly due to rekindling love with Ralph Angel and strengthening her connection with Blue. The struggle to maintain this newfound habit presents the real, authentic portrayal of life post addiction, knowing that people still cannot forgive you for your past. Darla retains no hateful spirit, always conveying her thanks despite knowing that Vi carries an unchanged resentment. Darla finds a perfect balance between motherhood and becoming engaged to the man of her dreams, and finding a job with Charley— her future sister-in-law. Darla soon finds a friend in Charley, an intimate closeness that’s needed for a woman who grew up as an only child. Hotheaded Ralph Angel— who has already shared his late father Ernest’s secret will with her— isn’t too happy about the arrangement, believing that Darla is not on his side. He has already shared his late father Ernest’s will with her. The thing is Ralph Angel expects Darla to always sacrifice for him. She lost a previous job thanks to him. </div><div><br /></div><div>Suddenly, the presence of Darla’s parents brings a shocking detail to light. </div><div><br /></div><div>The wedding is off and Ralph Angel dumps Darla. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlAqDqF21AC9M0n1BCQwn5Qbda3zE-FjRNT0Jc7f37UV2f2mY5qm7_lcYr-9_mRfTno26f9PfzZ8wC1oeXWUKpkDlKMSxDk_U45jAoLbKQ1IxgqFvOML2GyEA3Lfw6cjZkpZSyV9oFoqTsv0zHWa3haSr5mu6pBKsECzIg5ivyY5yA7V2_dtT03RQ/s2737/711C8E3D-F931-448D-85D0-ED1A7E5A4753.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2737" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlAqDqF21AC9M0n1BCQwn5Qbda3zE-FjRNT0Jc7f37UV2f2mY5qm7_lcYr-9_mRfTno26f9PfzZ8wC1oeXWUKpkDlKMSxDk_U45jAoLbKQ1IxgqFvOML2GyEA3Lfw6cjZkpZSyV9oFoqTsv0zHWa3haSr5mu6pBKsECzIg5ivyY5yA7V2_dtT03RQ/s320/711C8E3D-F931-448D-85D0-ED1A7E5A4753.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla’s mother Darlene (Michael Michele) puts out the idea that Blue should live with his maternal grandparents for a while— that of which Darla does not agree in season two, episode fourteen’s <i>On These I Stand</i>; written by Jason Wilborn and directed by Christina Alexandra Voros. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUCVnMOB-IBx-dqR34OxMSEHPQqX_jqJb-hMcUXSwzo7jQg8MmJohIDZeOGpvFz_nl4GkR2lZO9n4P7WimZMb4PIyvz0I_HsoP-CMP2-yp5e8BExC9RunbdAxa5_2cXLn_Qgj-m9oCYUSH4EcBR2KIsD_1d7aajQVbDTodTRTGa8q_oh-40tlfziU/s3248/67580707-CB16-4077-93E4-7510E237623F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1945" data-original-width="3248" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUCVnMOB-IBx-dqR34OxMSEHPQqX_jqJb-hMcUXSwzo7jQg8MmJohIDZeOGpvFz_nl4GkR2lZO9n4P7WimZMb4PIyvz0I_HsoP-CMP2-yp5e8BExC9RunbdAxa5_2cXLn_Qgj-m9oCYUSH4EcBR2KIsD_1d7aajQVbDTodTRTGa8q_oh-40tlfziU/s320/67580707-CB16-4077-93E4-7510E237623F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Even with everything crashing around her— losing the Bordelon support including being fired by Charley— Darla manifests painful rejections into a positive activity— swimming in season two, episode sixteen’s <i>Dream Variations</i> written by Davita Scarlett and directed by Kat Candler. </td></tr></tbody></table><br /><div>The third season, after recuperating with her parents back home in Washington D. C., Darla eventually returns to St. Joe to exist beside her wrongs, maintaining the path towards being forgiven. She has changed her appearance (cutting off her signature locks) and hopes to spend more time with Blue by any means necessary. Ralph Angel— hanging onto the hurt—frequently lashes out at Darla. Moreover, Darla also deals with Vi’s scorn and that of Hollywood for the first time. Ralph Angel and Darla tell Blue about their abruptly ended relationship. Darlene then encourages Darla to get the courts involved for a custody arrangement. After all, Darla has earned the right to be in Blue’s life, her smart, inspiring son gives her the heart and energy to thrive, to be clean. She needs his sustainability. </div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMeu9tUNdOF20bmcSF1HDbNyEbRkreOHURGNMmcIgXZ5k221_5iwkHYkON5Cii0wTzjDWlDn5yZhJsqHa-HlwbZQ8-LQpbYC_uWrLNpHu7A-209vtOejX82NJtnOHRhOiZhJNcjvCvat7apFpEu6niaLxO4rNXLMIZuA1Oc1A43bOiWcOcrHvODbM/s3286/03AE464F-123D-40F7-A26C-B870987B92B6.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1945" data-original-width="3286" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMeu9tUNdOF20bmcSF1HDbNyEbRkreOHURGNMmcIgXZ5k221_5iwkHYkON5Cii0wTzjDWlDn5yZhJsqHa-HlwbZQ8-LQpbYC_uWrLNpHu7A-209vtOejX82NJtnOHRhOiZhJNcjvCvat7apFpEu6niaLxO4rNXLMIZuA1Oc1A43bOiWcOcrHvODbM/s320/03AE464F-123D-40F7-A26C-B870987B92B6.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla returns and Ralph Angel isn’t too pleased— having only handed off her phone calls to Blue.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6wc49S7YISyoovPHFn13N0FriXaGxYH4eheI1QJuPyj-BNGRPqUdNvdQCNdn3T1cUIcCQUHfxZYROu9s_-1qJH7RUQS3AljeMKcu_lqQS6Zr5VKMityhDt3MJ-YIgoo9KzccwnjOKI0D7O8243sA5zmSlITzgc58j5mnUlNnpDYeomcSD1ujJOw/s3138/45A605EB-CDEF-4A97-91EB-EFD84BCAE69A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1706" data-original-width="3138" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6wc49S7YISyoovPHFn13N0FriXaGxYH4eheI1QJuPyj-BNGRPqUdNvdQCNdn3T1cUIcCQUHfxZYROu9s_-1qJH7RUQS3AljeMKcu_lqQS6Zr5VKMityhDt3MJ-YIgoo9KzccwnjOKI0D7O8243sA5zmSlITzgc58j5mnUlNnpDYeomcSD1ujJOw/s320/45A605EB-CDEF-4A97-91EB-EFD84BCAE69A.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla and Ralph Angel peacefully mend fences in season three, episode twelve’s <i>The Horizon Leans Forward</i>, written by Mike Flynn and directed by Kat Candler. The parents train Blue to ride a bicycle. As they watch him from the porch, Darla believes that they should split time fifty/fifty. </td></tr></tbody></table><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBfbbeahvkW8Mz5Acq0_iHlaYgdhKa-QNjoCGvx2B7dpoLa-Rs7madXBPuXpIOeWSIM84SlXeipJPt7aphbRhLcIXjZr-xT_5QZ-cjo9fN2x1IgnMgDWxLKdzulk3ZZD7D-TR2drgPKRUvGeapmCapIh_liMloN4p-yS10tiqpP7nwL7HYgp9R_A/s2661/C8699AAC-0C47-42E0-898C-A5E9D4CC0126.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1793" data-original-width="2661" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBfbbeahvkW8Mz5Acq0_iHlaYgdhKa-QNjoCGvx2B7dpoLa-Rs7madXBPuXpIOeWSIM84SlXeipJPt7aphbRhLcIXjZr-xT_5QZ-cjo9fN2x1IgnMgDWxLKdzulk3ZZD7D-TR2drgPKRUvGeapmCapIh_liMloN4p-yS10tiqpP7nwL7HYgp9R_A/s320/C8699AAC-0C47-42E0-898C-A5E9D4CC0126.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">“I’m more than okay. I’m healthy. I’m sober. I have my struggles, but I think of Blue, I think of his joy and I walk through it.”— Darla in season three, episode thirteen’s <i>From on the Pulse of Morning</i>, written by Kat Candler and Anthony Sparks and directed by Candler. </td></tr></tbody></table></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div>Season four features an evolved Darla embodying a woman willingly undergoing significant life changes, even sharing similarities with new boyfriend Leo— also a former addict while also continuing a positive co-parenting arrangement with Ralph Angel. She shows no animosity towards Ralph Angel dating the beautiful Deesha, a fellow parent in Blue’s class, demonstrating a release on her earlier attachment issues. In prior seasons, Darla and Ralph Angel were definitely not ready to be married, especially with Darla’s secret looming over them and Ralph Angel’s constant mood swings— very unhealthy and dangerous for Darla. So, Darla appears invincible as she moves forward in making a clean, worthwhile break, putting Blue’s needs and her own at the top of her hierarchy.<br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpdkiO_uyTP4YPi4euaSIZev0KUioeqJ29BPSUZ06-Ir0UAqg2PF_TQsMmxxGCe5NItMcVzspaNTMrsUeQPd0e_As6-mdy6J_XvP8EExq08UXvSXnUfP9oksykq0QEA8toOjUvWKJuzYF51OMYxSsE7PT_2-89vyB4sEP5qf-Wfirmgw0jLX1UOKQ/s1645/9E96D4C5-4483-4C6F-A7EA-FB1DA024FC3F.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1072" data-original-width="1645" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpdkiO_uyTP4YPi4euaSIZev0KUioeqJ29BPSUZ06-Ir0UAqg2PF_TQsMmxxGCe5NItMcVzspaNTMrsUeQPd0e_As6-mdy6J_XvP8EExq08UXvSXnUfP9oksykq0QEA8toOjUvWKJuzYF51OMYxSsE7PT_2-89vyB4sEP5qf-Wfirmgw0jLX1UOKQ/s320/9E96D4C5-4483-4C6F-A7EA-FB1DA024FC3F.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">“You’re lower than I ever was!”— Darla to Nova on Nova’s book, <i>Blessing & Blood</i> of season four, episode four’s <i>Skin Transparent</i>, written by Valerie Woods and directed by Numa Perrier. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIncxvJr8jiPX52sS2pSinsah6HHe7Uf1n3mcKfi_srCSYXbStDv3eCXYmUwCqNJS9Y5UeFma5WEpV75p8Cva29LQecMRkY5uSiVXSsw-1kaqkMqjQqqNicleElwHUijUsKZmUfanuRpNTGDNOgS_p9kwQadczsXxvmP9JUmuf1fxdCl1upCHeuFc/s3536/D3C66609-45E8-4C1E-ABC8-A37375CBCA2C.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2411" data-original-width="3536" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIncxvJr8jiPX52sS2pSinsah6HHe7Uf1n3mcKfi_srCSYXbStDv3eCXYmUwCqNJS9Y5UeFma5WEpV75p8Cva29LQecMRkY5uSiVXSsw-1kaqkMqjQqqNicleElwHUijUsKZmUfanuRpNTGDNOgS_p9kwQadczsXxvmP9JUmuf1fxdCl1upCHeuFc/s320/D3C66609-45E8-4C1E-ABC8-A37375CBCA2C.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla sinks into deep depression in season four, episode five’s Face Speckled, written by Lisa Morales and directed by Heidi Saman.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRI-4PlW20aK30_JIRuGfViOH3eFJ30iLLxjwQqQwlk3CUz3dofF1n4tlPqdLyrJfbq5BTBWMxgTH0KLJPWqnIHstElCr0pxcjZ5LiyFyXXCTpvinAB3J321bJYkFUjy9J5fykRJmXLkkrpUxT6XaA-edQczmlS_qT2RArOEHd189_ml9ZsTU6lFc/s2281/290CF65C-7E8E-4CEC-8AD3-A3E850CB39DD.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1331" data-original-width="2281" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRI-4PlW20aK30_JIRuGfViOH3eFJ30iLLxjwQqQwlk3CUz3dofF1n4tlPqdLyrJfbq5BTBWMxgTH0KLJPWqnIHstElCr0pxcjZ5LiyFyXXCTpvinAB3J321bJYkFUjy9J5fykRJmXLkkrpUxT6XaA-edQczmlS_qT2RArOEHd189_ml9ZsTU6lFc/s320/290CF65C-7E8E-4CEC-8AD3-A3E850CB39DD.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla takes a hefty sniff of temptation, but manages to not take a single drink.</td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguvMySnsZjwVfMqA6RmJtDCIvVZAHaa-t2BfyAvxhtCvb8wgpYXnhQ1Tb0snKAX6_wWsUFdIoQL9vA3xEesCFY2DiQ9q5yrdcuxyzOIKzlVnVMjQED1DtcuW1pNJHfimwb8jSLlmY-t851TqbdUAtZMdYasS9vvgHg5ZPqO7z0JmNpJDfKy0t8FKg/s2040/EC36B3CB-D632-4410-957F-1C5602AFD43A.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="2040" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguvMySnsZjwVfMqA6RmJtDCIvVZAHaa-t2BfyAvxhtCvb8wgpYXnhQ1Tb0snKAX6_wWsUFdIoQL9vA3xEesCFY2DiQ9q5yrdcuxyzOIKzlVnVMjQED1DtcuW1pNJHfimwb8jSLlmY-t851TqbdUAtZMdYasS9vvgHg5ZPqO7z0JmNpJDfKy0t8FKg/s320/EC36B3CB-D632-4410-957F-1C5602AFD43A.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ralph Angel explains to Blue that though he’s not his biological father, his soul is in Blue. </td></tr></tbody></table><br /><div>Then Nova’s book <i>Blessing & Blood </i>comes out. Darla’s co-workers quickly figure out she is the mysterious “Star” character. It also affects Blue at school. Darla never intended Blue to find out the truth about his paternity— certainly not this soon. Nova forces Ralph Angel and Darla to have that difficult conversation with Blue, Darla beyond hurt and humiliated that her very wishes are not respected. </div><div><br /></div><div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZkGtONOtJEOgVThaPEpKmLUBsvGy43q8OSQhOGnImYv0vJMSpMelzY_LAgY3fmwHGpN7wo7nN8EbnTIJ2GcYNLgzW3i7uazwkfpHhoLp0dmYQctSs1sCTWjHkRs_Ct_MHo9gqvenGVPiejZVu72oVmx4ZxBlonOoSisdBDQOZactQzUeUUg-EtgM/s3324/3C0BA4AA-CE03-4A40-8CDD-B7E5CCA4B11D.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1839" data-original-width="3324" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZkGtONOtJEOgVThaPEpKmLUBsvGy43q8OSQhOGnImYv0vJMSpMelzY_LAgY3fmwHGpN7wo7nN8EbnTIJ2GcYNLgzW3i7uazwkfpHhoLp0dmYQctSs1sCTWjHkRs_Ct_MHo9gqvenGVPiejZVu72oVmx4ZxBlonOoSisdBDQOZactQzUeUUg-EtgM/s320/3C0BA4AA-CE03-4A40-8CDD-B7E5CCA4B11D.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jordan Montague (Amanda Tavarez) visits St. Joe spilling awful tea whilst drinking like a sailor in season four, episode ten’s <i>Oh Mamere</i>, written by Felicia Pride and Chloe Hung and directed by Cheryl Dunye.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjroC7rr-X7MJZvRGdRkuyNlQyLiRyc5-6gIhaCScUuiCRS95jpx_jDr13cL09LIV3y6wXUF2_JAC29stb_zEvgIQnLy7sHImoSCY4x0MOSiCW1-ibT5qRce2wplNrJ7vgePKcRe8TAupspyj0IuDmR0oRI64_EngCTvh3hjAPrRjer3qlEsIgrADg/s3123/9E461414-9709-4B24-A5DE-723772896C33.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1892" data-original-width="3123" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjroC7rr-X7MJZvRGdRkuyNlQyLiRyc5-6gIhaCScUuiCRS95jpx_jDr13cL09LIV3y6wXUF2_JAC29stb_zEvgIQnLy7sHImoSCY4x0MOSiCW1-ibT5qRce2wplNrJ7vgePKcRe8TAupspyj0IuDmR0oRI64_EngCTvh3hjAPrRjer3qlEsIgrADg/s320/9E461414-9709-4B24-A5DE-723772896C33.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla is in stunned disbelief as Jordan laughs about what happened to Darla.</td></tr></tbody></table><div><br /></div>The combined factors push Darla’s carefully constructed world asunder like a row of falling dominos. Leo— who has read Nova’s book— hasn’t returned Darla’s calls or texts. So, she shows up to his band practice. He reacts coldly to her, convinced that she’s teetering. Sure, it would be wise to take Leo’s advice and call her sponsor, but his whole attitude towards Darla plummets her already dwindling self-esteem. The final shove across the cliff comes from Jordan Montague— the worst kind of person. Jordan still believes herself to be Darla’s friend. Heck, Darlene believes this woman is Darla’s friend. At brunch, Jordan gleefully chugs drinks away, not showcasing any empathy towards Darla’s sobriety (perhaps she doesn’t know, but still...). Yet, Jordan reminisces about their glory days of turning tricks, unknowingly filling in the missing pieces of Darla’s fateful night. The vicious savageness to this story paints Jordan in a horrific light— she witnessed Darla being taken advantage of by two men and thought it humorous; not even realizing that Darla could not possibly consent. Even remotely close to sober, a grownup Jordan should realize what her words insinuated. What kind of friend would laugh and openly mock about their friend’s violation? </div><div><br /></div><div>Of course, it is very heartbreaking once Darla goes to a bar and engulfs one shot after another. Damn. </div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6yWwycuMWveAvk_T8-9p5GuWP3Sj_Sc-xWJfBKv_9bC-Qjare0lNKthZvCCMEwwdZDr0usYTsS2hcKEyPnR5Xy0BOC30WoTd8SosXGh_0xsmzzdgeB7RbV56PB9oOZ655HUm6cmnjRZHb3D1va_LvtQcfrpKiTZpZEDV_vIy4cEqmcE1JUabzhU8/s3850/77268C8E-7267-4562-833F-8CC4500AB56B.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2206" data-original-width="3850" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6yWwycuMWveAvk_T8-9p5GuWP3Sj_Sc-xWJfBKv_9bC-Qjare0lNKthZvCCMEwwdZDr0usYTsS2hcKEyPnR5Xy0BOC30WoTd8SosXGh_0xsmzzdgeB7RbV56PB9oOZ655HUm6cmnjRZHb3D1va_LvtQcfrpKiTZpZEDV_vIy4cEqmcE1JUabzhU8/s320/77268C8E-7267-4562-833F-8CC4500AB56B.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Out of all the people who could have witnessed Darla’s public display of intoxication, a sweet fate intervenes, letting Vi find her.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjxMnllP1a1HIcWV5ikILY6tdwdXTkm9EXuT7htdEO263al2JbMahLcBnZu8-zfLMx9--gD_9MpkQPKwMvd4VxhzJ_tq4uHPnwdP60fpZWLd0THji_PK321SgKbNyPx44pqneELHYJNf282SWXo4J83szJQTUvgtNoWYiTfcxoAyQMFlkHj8wx_4/s3093/C6BD8812-5681-4D3D-B4D0-9D1CD9703947.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2093" data-original-width="3093" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjxMnllP1a1HIcWV5ikILY6tdwdXTkm9EXuT7htdEO263al2JbMahLcBnZu8-zfLMx9--gD_9MpkQPKwMvd4VxhzJ_tq4uHPnwdP60fpZWLd0THji_PK321SgKbNyPx44pqneELHYJNf282SWXo4J83szJQTUvgtNoWYiTfcxoAyQMFlkHj8wx_4/s320/C6BD8812-5681-4D3D-B4D0-9D1CD9703947.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vi sits at Darla’s side as Darla tells Ralph Angel about the tragic night of Blue’s conception.</td></tr></tbody></table><br /><div>Vi gifts Darla an absolute blessing— the genuine care and sympathy that the young woman needs to process a terrible crime. For a long time, Vi made it perfectly clear where she stood with the former addict, her cruel retorts often heard by Darla. Still, a patient Darla knew that the road to forgiveness was not bound to be simple, let alone quick and painless. Thus, when Darla found herself in grave danger, Vi would be the one to rescue her from herself and disclose a surprising vulnerability. Perhaps, Vi finally sees that she and Darla share common ground— surviving cruel abuse by men. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIfZztEn9pXwa9MclGHIu63qf6OgASsTTEVZn_OQI_hBOkqQ7RnG3BLSVXusyshhh4AV1AVsLbeo9aDH1YqvVHDXxPKVPAJWN0UuinnEWWZwQVAg1KfDo2N_xDdwUeJg2wxtNFekHmOvVHEHVX41VyIYG0ErG7Fue-FNGU_b0b8E1-lafvgBG2rbQ/s520/9D56298E-9D4D-48A8-B2CB-DB7169FF74C5.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="342" data-original-width="520" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIfZztEn9pXwa9MclGHIu63qf6OgASsTTEVZn_OQI_hBOkqQ7RnG3BLSVXusyshhh4AV1AVsLbeo9aDH1YqvVHDXxPKVPAJWN0UuinnEWWZwQVAg1KfDo2N_xDdwUeJg2wxtNFekHmOvVHEHVX41VyIYG0ErG7Fue-FNGU_b0b8E1-lafvgBG2rbQ/s320/9D56298E-9D4D-48A8-B2CB-DB7169FF74C5.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ralph Angel and Darla finally marry in a COVID precaution ceremony in episode <i>May 19, 2020</i> written by Norman Vance Jr. and directed by Lauren Wolkstein.</td></tr></tbody></table><div><br /></div><div>By season five and six, Darla and Ralph Angel have grown individuality— so much so that they can fully be committed together without inflicting unnecessary hurt on each other. After a hard, tumultuous year, Darla deserves happiness, she deserves the fairy tale ending— which she acquires through one of the most poignant, most loving weddings ever shown on television. Although Darla’s parents cannot attend mainly due to the COVID pandemic restrictions (brilliantly integrated into the series), a prior virtual bridal shower offers Darla a humbling surprise from Darlene. </div><div><br /></div><div>When Darla becomes pregnant in season six, this gorgeous family embarks on this healthy journey together as a married couple, no longer their past— the hustler and the addict struggling to make ends meet. Love has always been their backbone, but wisdom and growth unites them, prepares them for a refreshing future with their son Blue along for the glorious ride. Unfortunately, Ralph Angel has some instinctual reflexes that potentially places his own maturity on the line. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjU-UHTQXZQQ4-RpgFjgNUAAo47ehQXm4dFEIJ4ykEYfIwZUAYVj9ZGD2nZhFEoyJxNhOnsD_UlJ9vQTOMBYaRyZyGWq7okKM2kOF8-urs3NniG_t6FvNyjpAZOKefICeqFuQD_0Gk_kA60qpUoe_WJvFZl3pfZQc1p7nY6DWCm3k4R4VO7mXNw3Y/s520/C94B8F20-3C3F-4B6E-8478-19B1CCC83CE7.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="330" data-original-width="520" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjU-UHTQXZQQ4-RpgFjgNUAAo47ehQXm4dFEIJ4ykEYfIwZUAYVj9ZGD2nZhFEoyJxNhOnsD_UlJ9vQTOMBYaRyZyGWq7okKM2kOF8-urs3NniG_t6FvNyjpAZOKefICeqFuQD_0Gk_kA60qpUoe_WJvFZl3pfZQc1p7nY6DWCm3k4R4VO7mXNw3Y/s320/C94B8F20-3C3F-4B6E-8478-19B1CCC83CE7.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Happy endings are bumpy ways away for Darla, Ralph Angel, and their newborn daughter in season seven, episode three’s <i>Slowly and Always Irregularly</i> written by Francesca Butler and directed by Stacey Muhammad.</td></tr></tbody></table><br /><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9H5vP1sXgUAdIDQYFYh_poqBMgu7ePVqmTrYs9XvFahR6XhwMGdDxuSQ71RLDjjnZH_tJxNRLY08CGm__eKc-YLuPSAkXjxlaWj2KBFFo8dnTHRMl9Myv9A7GvZmgmQHtaRdzJUPmfyJbdwc4tP0bmvV4jhsgwUwlSP8d6pv6XIGC4oarZs2uw6Y/s595/B454C6B1-3B77-4B74-BDCA-23CBE616CB14.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="595" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9H5vP1sXgUAdIDQYFYh_poqBMgu7ePVqmTrYs9XvFahR6XhwMGdDxuSQ71RLDjjnZH_tJxNRLY08CGm__eKc-YLuPSAkXjxlaWj2KBFFo8dnTHRMl9Myv9A7GvZmgmQHtaRdzJUPmfyJbdwc4tP0bmvV4jhsgwUwlSP8d6pv6XIGC4oarZs2uw6Y/s320/B454C6B1-3B77-4B74-BDCA-23CBE616CB14.jpeg" width="215" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla is deadset against Nova’s book being turned into a film in season seven, episode five’s <i>With A Kind Of</i> written by Eddie Serrano and directed by Shaz Bennett. </td></tr></tbody></table><br />By the seventh season, Darla settles into marital bliss— a beacon of pure happiness. Again, fate tests her sobriety. Nova has the opportunity to turn her book into a film. Everyone is all excited about the prospect, having changed their earlier scorn into excitement— except Darla. She suffers through their uncontainable glee, her eyes watering, the tension in her body rising. First, her “no” is soft, then she repeats it louder and louder, and races out of the room. As part of the Bordelon family, her consent matters and it’s only right for Nova to go to Darla, to hear her— not exactly for the why, but for her to truly understand what Nova’s book cost Darla. </div><div><blockquote>“Don’t you dare make this about you! You ruined my life. And now you want forgiveness. I relapsed because of you and that book. Did you really think I would be okay with a movie? Are you really that selfish? Ralph Angel and I... we keep trying to let the past go. But you keep bringing it back. You think that I wanna watch my assault with actors in costumes? Do you think that I want that out there for Blue and Tru to see? More than you’ve already exposed it? All the s*** you stirred, do you think I want that rewound and streamed on people’s TVs for years?.... ARE YOU CRAZY? ARE YOU OUT OF YOUR MIND?”— Darla to Nova. </blockquote></div><div>After listening to Darla’s passionate monologue, Nova promises to decline the offer of turning <i>Blessings & Blood</i> into a film. To further enhance a pivotally emotional moment, the two sisters by marriage embrace, Darla sobbing on Nova’s shoulder, a newfound bond between them deepening. </div><div><br /></div><div>Once that chapter closes, Darla’s remaining hurdles include Ralph Angel’s troubles and the worthless Chase (who doesn’t deserve to be considered Blue’s biological father). Of the latter, Darla boldly confronts her attacker (with her strong, supportive family in tow) and tells him off in a way season one Darla never would. How can you not applaud her for her courage, her unflinching eye? She was a chess player mastermind beating Chase at his own pathetic game. As for Ralph Angel, Darla was right to take the kids with her to Washington D. C. He needed to put his family first: stop returning to his old shady behavior, punishing Darla, and talking to an ex about his marital problems. </div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhebzoNLkX3Ii2eaFqovYoR9Ifw5D44qqYmxLkrFZB9zNWTFfD1OYHnrMW-y0J2dRe1tVY-GjsL6S4tQW-db2GVwTL7g9l_IGE571j6-LLjS2N0wkXRfOO8UVGLWB4EgAaWqXdWpv9Lx2z5ogwhqpxZFsGF8r395x5KobfdJWKvynlKsNdDyvTqGB0/s1580/93DE09EC-5A2A-4C8B-AC9B-22EEA6363DBE.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1580" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhebzoNLkX3Ii2eaFqovYoR9Ifw5D44qqYmxLkrFZB9zNWTFfD1OYHnrMW-y0J2dRe1tVY-GjsL6S4tQW-db2GVwTL7g9l_IGE571j6-LLjS2N0wkXRfOO8UVGLWB4EgAaWqXdWpv9Lx2z5ogwhqpxZFsGF8r395x5KobfdJWKvynlKsNdDyvTqGB0/s320/93DE09EC-5A2A-4C8B-AC9B-22EEA6363DBE.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darla closes the nail on the coffin— having the monster Chase (Eric C. Lynch) sign many documents including a contract worth three million dollars. Talk about a more positive spin on paying out a rape survivor (sorry Charley).<br /> </td></tr></tbody></table></div><br /><div>Thankfully, by the final episode, one of the best TV couples <a href="http://femfilmrogues.blogspot.com/2018/07/best-tv-couple-15-darla-ralph-angel.html" target="_blank">Darla and Ralph Angel</a> repair their relationship and buy a house together in order for Vi and Hollywood to foster a child. Talk about a rewarding full circle moment for everyone, especially Darla. She fought against constant denial, constant doubt, and stole/melted hearts. </div><div><br /></div><div>Insert the sobs. </div><div><br /></div><div><i>Queen Sugar</i> may not be the easiest series to binge. Almost every episode should come with a “sensitive subject matter” warning. Furthermore, an inward pause must be taken to let the heavy images, resonating stories, powerful acting settle in spirit, and tissues to wipe away endless tears. For seven heartrending seasons, viewers have watched the soft-spoken, guilt-ridden Darla transform into a remarkably resilient woman— someone growing into her own strength and agency. Bianca Lawson’s incredible performance of grace, tenderness, and grit makes you see Darla’s multifaceted humanness. She has immense regrets, battles to stay sober, desires to be a better mother and partner, and forge her own destiny. Between her defeats and losses, the blessed Darla still receives wins, joys, and pleasures. Lawson believably embodies a character she was meant to play. After roles in <i>Buffy the Vampire Slayer</i> and <i>Pretty Little Liars</i>, <i>Queen Sugar</i> gave the opportunity of a lifetime— a layered, complex role requiring an emotional weight that Lawson carries well. </div><div><br /></div><div>Darla Sutton-Bordelon’s character arc demonstrates a significant part of why <i>Queen Sugar</i> will stand the test of time as one of the most unforgettable series ever rendered. </div></div>Fem Film Roguehttp://www.blogger.com/profile/05621231918425506717noreply@blogger.com0