'Fast Color' Uniquely Mends What Is Broken From Superhero Origin

Fast Color film poster.

"Perhaps the self-same song that found a path

Through the sad heart of Ruth, when, sick for home

She stood in tears amid the alien corn"-- John Keats, Ode to the Nightingale

In Fast Color, the invisible umbilical cord binds the women's ancestral line. No amount of distance-- both living and dead-- can change the course of that destiny, a destiny that is still an unraveled mystery. The mother, the daughter, and the granddaughter will need each other for different resources, but the most important tool for survival is togetherness.

In a dry, barren dystopia, water is no longer a complimentary luxury, costing as much as an astronomical forty bucks a few gallons, twelve dollars a pint. The rain hasn't touched the earth in years, leaving behind an unloved, unfulfilled world. Enter Ruth. She is a very special woman with some very eccentric abilities-- like causing earthquakes. She constantly rushes place to place, obviously on the run from militant evil. She gets into a stranger's car and immediately finds out he is anything but a white savior.

Gugu Mbath-Raw (Belle, Beyond the Lights) puts on a fantastic performance as Ruth, mover and shaker of the earth.

Ruth manages to escape and finds aide in Sheila, a kind bartender before reaching to a place she had abandoned-- home. The home is a whole other character, nonverbal. On the outside, it looks like a plain, ordinary barn. Inside, the walls overflow with historic pictures, drawings, and paintings. Many objects fill the rustic, charming spaces of Ruth's mother Bo's family inheritance, a living, breathing heirloom seemingly as old as the women's exceptional gifts. The most precious sentiment is the huge book that all the women write in, entailing their magic and illustrating colors-- colors that Ruth cannot see. Thus, migration is apparent-- Ruth's return, the sacredness of Black home/land ownership passed down, and the shared diary from one woman's hand to the next.

Bo (Lorraine Touissant) tells Ruth (Gugu Mbatha-Raw) about the importance of the house and the family diary. The inherited house served as a protective barrier, a serene solace for many generations. Unfortunately, no place-- no matter the familiarity or history-- can shield their secret forever.

Ruth (Gugu Mbatha-Raw) is trying to build with her daughter Lila (Saniyya Sidney)-- a path to forgiving herself for the past and making it up with a promising future.

Bo doesn't seem excited by Ruth's return and Lila is reluctant and naturally distrustful to form a relationship. Still, the three manage to set a routine, dividing the food and water, practicing their manipulation skills. Ruth is fascinated by Lila, falling more in love with her daughter. Ruth accidentally breaks Lila's window and suggests that maybe they can place it back together-- although their powers never fix broken things. The glass surprisingly comes together at their joined effort, but then shatters, relaying that mother/daughter have kinks to sort out. Through time and patience, Ruth and Lila could potentially have a strong, resilient bond.

Three is the magic number: Bo (Lorraine Touissant), Lila (Saniyya Sidney), and Ruth (Gugu Mbatha-Raw).

The talented trio force of Gugu Mbatha-Raw, Lorraine Touissant, and Saniyya Sidney give such phenomenal performances that cannot be ignored. The juicy script lends them opportunities to convey suspicion and doubt, love and tenderness. By having considerable weight to their parts, these actresses are able to fully render character's individual actions, the causes and affects. Mbatha-Raw's former drug addict Ruth has expressive eyes and spurts of vulnerability, haunted by regret. Touissant's Bo follows her own stern mother's footsteps, but her warm, valiant heart realizes that the past cannot deny future. Sidney's Lila showcase that beneath the iron rebellion streak, she wants true belonging. These women lead in a refreshing and phenomenal way, leaning on each other, learning to trust and sacrifice as do their engaging characters.

The score is melodic and powerful, setting appropriate moods and Nina Simone leads an eclectic soundtrack. Beautifully shot in Albuquerque, New Mexico, the visual effects are also a dazzling highlight, especially the significant moments of molecules transforming into objects and these objects breaking down into tiny particles-- Bo's cigarettes, Lila's tools, the broken ceramic bowl. In fact, two noteworthy scenes stand out.

Ruth coming into herself, finding something nestled deep within, and it all comes down to Lila. She is Ruth's heart, her ultimate power source. When Ruth finally embraces her gifts, free from seizures and shackles, seemingly joining with the earth in a profoundly internal intimacy, Ruth is as phenomenal as X-Men's Ororo Munro aka Storm.

Oscar winning filmmaker Barry Jenkins (Moonlight and If Beale Street Could Talk) with Fast Color co-writer Jordan Horowitz, Fast Color director/co-writer Julia Hart, and film stars Saniyya Sidney (Lila) and Gugu Mbatha-Raw (Ruth).

Bo admits fearing her own strength. Yet she defiantly faces down the men with guns pointed at her and her child and dissolves the threat. This excruciatingly intense scene froths with metaphorical allegory. These people aimed weapons at women, placing their selfish, malignant intentions for "science experiments" far above the validity of human life-- women who are callously the more violated sex. Sasha Avonna Bell comes to mind-- one of the first to file a lawsuit against Flint, Michigan, whose death remains unsolved. Yet it also ushers in the history of Sarah Baartman and other Black women's bodies paraded, exhibited, and dissected for their unique "parts," viewed more as scientific curiosity than human. Ultimately, Bo had to be the one to stop government interference.

While Marvel and DC alternately push out their annual big budget comic book films, Fast Color wedges between the tough industry cracks-- a worthwhile triumph. The small budget film has an independent spirited heart placing a generational line of women at the crux and deserves all the buzz and praise received. It shows mothers and daughters repairing fragile damages, challenging authority together, venturing down the road to something once forbidden, and leaving all wounds to the conjured wind.

'Beyond The Lights' Urges Us To Free The Blackbird Within

Beyond the Lights film poster.

 ".....truth is the only safe ground to stand on."- Elizabeth Cady Stanton.

Beyond the Lights begins with a frantic white English mother needing her biracial child's hair done. She is to sing "Blackbird" for a talent show. Aide begrudgingly comes to the rescue. Next day Noni, partly cornrowed with springy curls tamed and properly combed, graces London stage, only brown “tainted” girl amongst contestants. However, as soon as she breaks into Nina Simone, youthful tentativeness disappears, evaporating into an older, worldlier soul. Each harrowing note is belted in wisdom and strength-- components that drove Simone's sorrow tipped ballad. Noni the child has grown up before teary-eyed, applauding listeners affected by bestowed gift.

However, fiercely delivered tenacity isn't enough to win.

Instead of telling Noni to take loss with dignity and grace, Mama Macy Jean abruptly pulls Noni offstage and forces first trophy to be trashed. A cruel reminder that runner ups are never remembered, never worth celebrating.

Young Noni (India Jean-Jacques) wows the crowd bellowing out, "Why you wanna fly Blackbird you ain't ever gonna fly?"

Years later, overtly graphic images flash subliminal messages. Noni is a dehumanized vessel, a fabricated industry product. Nowadays most pop music lacks profound substance. Quick, easily manufactured garbage is instantly popularized. The now is imperative-- fifteen minutes of fame, the speediness of existential high wrapped in bling and sexual voyeurism. Wearing more weave and makeup than clothing, Noni the voided robot, sings lifeless songs over loud, hyper synthesized beats. Oceanic pretend, more vast and abyssal than anything she's ever swam in, drowns out her real voice, her real soul. Popping and twerking like a stripper dancer, images of T&A displayed like twenty-first century Sarah Barrtman, Noni is finally victorious-- what Macy Jean always craved. It's an interesting contrast against earlier little girl showcasing vocal tenure, breathing into Simone's lyrical prowess, echoing desires of being free from cage. 

Thanks to Macy Jean's insatiable hunger for winning, Noni is still trapped and sees only one way out.

Mama Macy Jean (Minnie Driver) says less is more for her daughter Noni (Gugu Mbatha-Raw).

Kaz, the guard taking over someone's shift, rescues befallen tragedy.

When he saves her from almost falling, he holds her. In this intense moment, everything changes. Connection starts to grow. World around them becomes silently unnecessary. Nothing matters more than this profound destiny in the hotel suite. She is seeing him seeing her. The clutch is both sedimentary and powerful. Eyes meeting and greeting each other, offering comfort and balance. There is truth nestled here-- a real unexpected truth. Macy Jean drags Noni away, but Kaz is left rooted in same spot, stunted in same position. Noni's eyes stays transfixed to where he is located, searching and needing him still. 

Unexpected connection forms between Noni (Gugu Mbatha-Raw) and Kaz (Nate Parker). It's the longest eye contact Noni herself has had with anyone in the film.

Kaz is the genuine good guy. Not a thug. Not a gun toting drug dealer. He is the American anti-black male perception. However, like Noni, he is a blackbird too. Following his father's hierarchy-- science whiz, police officer, politician, Kaz seems to desire stretching out his wings. His home is an intellectual landmine of books and post it note quotes. Off the job he wears empowering t-shirts with civil rights leaders like Malcolm X. At times, he speaks in the quotes inspiring him. 

His immaculate world is turned asunder, much to his father's dissatisfaction, when saving Noni grants "fifteen minutes."

"What do you see?" Noni asks.

"Nothing," Kaz replies.

He doesn't mean “nothing” in a hurtful way. He sees a lost woman, floating without lifesaver. 

Kaz and Noni both want him to be that lifesaver.

Honest Kaz doesn't like to lie, but for Noni he must.

We started on a lie so it could never be perfect.

Oh but the remarkable rendering of that "perfection."

The balcony "incident" is major headline news and not in a good way. Noni has an immediate press conference and coerces Kaz to falsify events. Noni's label is outraged and threatens not release impending album. They are to sell sex. Not suicide. Blind Macy Jean sugar coats visceral reality, saying "cry for attention" will never happen again. Mental illness is a sensitive issue and should be taken into utmost consideration, especially when desire to inflict self harm comes to light. In lethal combination of a mother's dismissive behavior and a record exec's blatant disrespect, how can Noni's self esteem rise any higher when it dwindled lower than below balcony? Kaz, however, sees a woman in need. The kind of need that a man on a white horse cannot give her. She starts to lean on him, drawn into playing "victim," coming to his job, stealing him away. Their connection is undeniable. They start seeing beyond the seeing in each other, opening imprisoned doors, shamelessly indulging. Noni shows him her secret lyrics box-- illustrious prose deeper than what she sexily spews onstage. Kaz shows her his special place, watching planes fly.ahead. He fears putting his life "in someone else's hands" and she has never steered her own. Under heart of everything, he knows that she is not a narcissistic, self absorbed pop tart wannabe. He is merely waiting on her to acknowledge it too.

After horrible events escalate, reaching horrific climax, Noni and Kaz take a much needed getaway. In Mexico, they are free to lose themselves in this private haven, a sweet endearing family unit complete with dog. Passionate discoveries lead to erotic interplay, as camera turns camaraderie into lustful gratification. Although earlier love scene is depicted in a humorous mile high club fashion, this private session draws on just how deep connection has become-- confessional euphoric commitment. Chemistry is smoldering, almost overwhelming. Touching is both titillating and seductive. Urban version of Spiderman's infamous upside down French kissing offers slow, deliberate suggestion-- artfully maneuvered craftsmanship. We are taught anatomy of eye sex, of touching, of kissing. Longing and need painted in genuine strokes of rapturous harmony. The scene is fascinating. It's rare viewing minorities become explicitly sensual and desirous with each other onscreen. Brown skin on brown skin create fervid matrimony against white inside mahogany room, compositions of love and sensuality evoke candid intimacy.

Beyond the Lights is a simply must see for all its poignant metaphors and compelling similes. The soundtrack is excellent from Yuna (one of my favorite artists) to Cynthia Erivo and beyond-- an eclectic symphony of independent R&B and hip hip musicians. Director/screenwriter Gina Prince-Blythewood's masterful ability to record moments astound and stimulate sometimes simultaneously. She wields bravery with both pen and camera lens, taking strands of African DNA to United States and England. Making fresh faced virgins plunder into uncharted travel.

The cast is brilliant.

Gugu Raw-Mbatha shines again. First in Belle, now in a modern contemporary piece, she showcases phenomenal depth, diving inside Noni's exterior to viscerally connect necessary puzzle pieces. Each layer is peeled. An invisible knife slices Noni, exposing old wounds and fragile scars. She is unveiled to not just Kaz, but herself. She cuts away contact, the weave, the loud, emotionless beats, and finally her mother-- the barriers of which kept her from being genuine, the one person who should have never misguided her. That broken down acapella scene in Mexico illustrates raw vocalization and riveting integrity. Mbatha-Raw is flawless in three dimensional art form, forcing viewers to use eyes to witness facial language and ears to listen to emotional story. Bared naked gem effectively expresses vulnerable girl's desperation to seek validation in exasperating adulthood. One cannot help crying over sheer genius. We are witnesses to fatherless blackbird thirsting for elixirs to heal loneliness and pain.

Nate Parker is definitely capable of playing male lead. I first saw him in Denzel Washington's The Great Debaters and found him to be one of the film's strongest components. His character Kaz is both protective-- standing up for women when no one else would and compassionate-- using ears to listen and comprehend. From the very beginning, he knows that Noni needs help. No one in her corner is willing to see or understand. Parker embodies power and charisma, filling screen with enchanting beauty and sincerest conviction. Yes, he is a gracious model to fetch feminine gaze, but his portrayal solidifies place as an actor. He is quite articulate and sympathetic-- balancing between soft and hard, this fluid embodiment supposedly not seen to be masculine. Let's hope Hollywood follows Washington's and Prince-Blythewood's wise advice and give Parker prestigious notoriety. This young man is amazing.

Minnie Driver's Macy Jean and Danny Glover's Captain Nicol also provide pivotal support. Their respective characters-- both fiery, intense, hot headed pushy parents pinning their hopes to offspring, are the catalysts to protagonists. India Jean-Jacques is impressive. This talented singer/actress is bound to go many intriguing places when her career takes off.

In Jezebel, Prince-Blythewood explains breaking romance film genre tradition. 

It was very important for me that this film was not just about a man saving her. It was about a woman saving herself. You can't love unless you love yourself, and that was really an important theme that I wanted to put out there. This is a woman who's literally on the edge and wanted to let go. She has to climb back from that, both physically and emotionally and discover in herself what's worth saving. Yes, Kaz was there to let her know there was something worth saving, but she had to ultimately find out what that was in herself....

The film is really about two people saving each other.

Noni and Kaz + dog are the centers of each other's universe, addictive drugs in themselves.

Prince-Blythewood is a magician-- capturing hypnotizing scenes difficult to look away from. She is both soft and tender like a woman's gentle caress and brave and fiery like a lioness tearing apart prey. She shows no mercy. Evocative shot of Noni's tears on the balcony, tears dripping down her cheeks, clear bubbling snot escaping nostrils was beautifully rendered, moving photography well done. Brutal domestic abuse depictions whether it be from a victim refusing Kaz's help or Noni being violently attacked in front of cheering millions. Noni's mortifying embarrassment is publicly chastised. Instead of focusing blame on what is perceived to be rape enactment, by ex-boyfriend rapper all blame shifts to Noni-- giving credence to our victim shaming culture. Sadly enough that particular stage scene is similar to Macy Jean snatching Noni off the stage earlier. There are further elaborate twists and turns. Scenes are terrifying, gritty, affectionate, and arresting.

At last, the Noni and Kaz "lie" turns into validated truth.

The end is a wonderful nod towards Noni's humble roots both figuratively and mentally. Noni's adult natural coiled hair is styled same as ten-year-old self by same kind savior. This symbolizes rebirth, a new path Noni controls. Closing vocal narrative reenforces Simone's guttural melody. However, twist is pure Noni. The song is about her journey, but includes Kaz too. They have both overcome fears, flown free from parental shadows. Maya Angelou said she knew why the caged bird sings. Here bellows answer in haunting powerful range. Mama Jean, Noni's first fan, is left listening to beginnings of her little girl, of the daughter she sold out on a meaningless device. Meanwhile, audience is left with real honesty, the stoic truth of a young woman just wanting to be heard and loved. 

Oh dearest Nina Simone, blackbirds are no longer lonely or crying pained tears. Prince-Blythewood has ensured them a joined joyous flight to infinite love and sincerest happiness.

Belle: Amma Asante's Sumptuous Masterpiece Explores Forbidden Love And Acceptance In Various Ways

Belle film poster.

"Love must be a complicated thing."

Well, it certainly didn't have to be. Love can be the easiest, most naturally occurring emotion.  It's acceptance that's the more apocalyptic battle. 

Belle is a must see riveting period drama that teaches the paramount value of both love and acceptance-- the parallels are uniquely woven. Amongst opulent London backdrops and lavish scenery, blending together solid womenly friendships, racial prejudice, and forbidden romance, director Amma Asante and screenwriter Misan Sagay combine history of a remarkable realistically rendered oil painting alongside true account of Dido Elizabeth Belle Lindsay- an Afro-European abolitionist showcasing Harriet Tubman like heroism and compassion. A compelling instrument that ties it all together are the relationships Dido forms along her journey to self-acceptance- taboo relationships that were nonetheless frowned upon. 

Born and raised under aristocratic privilege, Dido is the illegitimate bi-racial daughter of Admiral Sir John Lindsay. Dido's adoring father showcases paternal devotion-- the first male to fall in love with her on screen, showing her firsthand that it is the easiest emotion to feel. This acknowledgment is powerful

"You look just like your mother."

This proves apparent affection not only for Dido, but for the woman who birthed her. He sees beautiful offspring deserving to be raised of sacred birthright and leaves his child with his uncle and aunt, Lord and Lady Mansfield, pleading with utmost conviction for them to love and nurture her. Although no one is exactly thrilled that she is “black,” they begrudgingly agree. For Sir John Lindsay to then make her an heiress further proves that unconditional, parental endearment. Dido grows up, privileged and forms a powerful bond with her cousin Elizabeth- longest and most lovely relationship Dido has ever known. They laugh, play, and learn together, affectionately holding hands and passionately declaring inseparability. One of nine films that passed the Bechdel Test this year, Asante's film fervently illustrates beguiling closeness between these two women. Dido and Elizabeth's controversial yet synchronous devotion to one another is soon a driving force behind commissioned portrait.Vibrant backdrop to endearing friendship is a significant key, a factor that must be applauded. Having a portrait painted meant not only vast wealth and influence, but it also gave an acceptable validation to Dido- that she was loved by her family and by Elizabeth, half owner to her gracious heart.

Elizabeth (Sarah Gadon) and Dido (Gugu Mbatha-Raw) have a close relationship.

Except familial love had to be hidden whenever visitors come to the Mansfield home. Dido must dine in the parlor- away from guests. It is a rule she grows accustomed to. Yes, her family shows courtesy and admiration, but society dictates all, including whom one chooses to eat meals. It is unfortunate that their love cannot stand up to such stupendous rules. The snobby, upper crust Ashfords are no exception. One brother lustily eyes Dido with impervious provocation while the other cannot contain disdainful contempt, stating rather nastily that someone of Dido's skin tone suits for cotton field dalliance in the West Indies. Yes, sexual conquests and nothing more. Rather irksome. One cannot help but wish saliva could turn into venom and spit it at such a callous bastard.

Dido (Gugu Mbatha-Raw)  is uncomfortable in her skin.

A rather depressing scene finds Dido sitting alone, saddened, peering into elegant oval mirror. She pinches and grabs frantically at brown hued hands and face, wanting desperately to “remove”shame. It defines demeaning hardships living with being different- the wrong shade of different and reflects lack of self-love. She longs to erase brown tint, to become populated, civilized fairer skinned- more cherished “English rose” setting high impossible to reach beauty standard. Surrounded by many luxurious, pretty objects, but inadequate in her own natural born skin, Dido's frustration is a powerful outcry for acceptance in an society blatantly celebrating racism. Although short, this visceral act of self-inflicted violence causes the viewer to take definite notice. Her struggle must be endured each day and night. The glaring subjection still remains a deep seated issue today. The role of African descendents appears to always be the entertaining Negro that knows all the right English words and proper mannerisms, catering to whims, displayed as an entertaining creature meant to be an stage performer instead of interacting in human society. One cannot forget that even as slavery eventually abolished, those with an ounce of Africanism DNA were not considered one hundred percent human. The astonished stares and perverse whispers cast in Dido's direction incite anguish. Impervious gawking both offensive and rude, white prestige are grossly intrigued by "Manfield's Negro," watching her like she embodies a freak show. However, Dido ignores critics, manages to bear turmoil, head up high. I am especially proud of how Dido gives snark back to Lady Ashford who more than deserves witty slap to her haughty pedestal.

Lord Mansfield's racially charged war is thrown at Dido's feet by passionate rebel thinker John Davinier.

Dido's (Gugu Mbartha-Raw) pompous world is turned upside down by John Davinier (Sam Reid).

He educates Dido and opens her eyes to the brutal barbaric ugliness of slavery. She reads eye opening notes that uncovers glaring truths Lord Mansfield has shunned from her. Slaves bound together, starved and thirsty, thrown overboard for profit. These horrendous allegations propel Dido's fury to see justice served. Lord Mansfield has deliberately smoothed over the hardcore honesty of the world, hiding atrocities that shouldn't exist. Dido is an intelligent woman who sees everything. Not just in ways of learned mannerisms like language and piano playing, she is aware that blackness isn't tolerable via in real life and depicted art.

"We are no better than paintings."

Realities simply cannot be tucked away forever. As an adult, Dido had every right to know. She isn't some stoic individual. She often spoke up about issues that mattered-- issues that certainly weren't learned between speaking eloquent Latin and French. I also believed studying the truth behind art gave another education. Art isn't solely about talent, mechanical prowess, and pretty frames to match drapes, art also provided subtle honesty about the orders of life. In the scenes where Dido glances at pieces, at times without dialogue, viewers know precisely where her thoughts are.

Belle (Gugu Raw-Mbartha) cannot hide her curiosity over Mabel (Bethan Mary-James). Also pictured Elizabeth (Sarah Gabor).

Dido meets Mabel, a free slave who works at the Mansfield residence as a maid. Dido turns into a casual observer, studying the woman. Over breakfast, Dido confronts her family over Mabel and slavery. Lady Mansfield blows up, believing these to be vulgar topics to discuss at breakfast. Wow. Human lives masqueraded as cargo could be descendents of Dido's past, relations that she doesn't get the opportunity to know and cherish. Mabel becomes a whole different bonding experience with Dido, setting forth another loving, accepting relationship outside jurisdiction of appeasing male ego. Dido struggles with kinky tresses and Mabel comes to aide, teaching her to comb from the ends. It is an endearing scene that ignites my own memories of struggling to appreciate strands and finding those who love it too. Once rare, now acceptance is vastly growing worldwide for the almighty afro. Mabel's caring, patient comb is just the beginning. She will be not only a maid- but a secret keeper of Dido's missions to see Davinier and his band of revolutionaries. Poetic regard that she shares this with Mabel and not Elizabeth-- who probably wouldn't understand Dido's roguish behavior. I see this vigilante justice as not only Dido's, but her gift to Mabel and others like them-- that side of herself that she grows to validate. Why should Dido have esteem? Why should Mabel be one of few to be "free?" I then imagined that while everyone left the house- Dido and Mabel played dress up prior to pub rendezvous. Mabel got a chance to get out of dowdy wardrobe and lived fantasy prestige, decked out in designer corsets and posh jewels. I am surely not alone in that. I hope.

Stupid prospects of suitors and marriage eventually begin to suck the life out of Dido and Elizabeth's earlier sisterly camaraderie. It's a thorn to the side, but it happens. A woman has to marry. Not for love, of course. To combine family wealth together and make heirs. Under flaring jealousy, tempers incite and hurtful words are exchanged. Elizabeth is a poor relation and Dido, an heiress, cannot marry due to her unacceptable skin tone. Thankfully, they made up because that nonsense (though logical) was killing me. Ha.

However, after Lord Mansfield throws the gable down to the right side of things, blackness fades on Dido and John. Although, my romanticist heart celebrated their chance to love one another freely, the final type of amour Dido receives, I cannot help but wonder if Dido ever looked back into the mirror and said, "I love you, Self. Brown skin and kinky hair and brown eyes and full lips and everything in between." That was a missing piece that needed insertion. The late great Maya Angelou said:

" I do not trust people who don’t love themselves and yet tell me, ‘I love you.’ There is an African saying which is: Be careful when a naked person offers you a shirt."

Did Dido love who she was inside and out? Accept herself? Or was Davinier her sole savior in seeing the beauty within? Perhaps so. I just preferred to see film end that way or at least give a glimpse into how Dido's perceptions shifted.

The famous painting of Dido and Elizabeth showcases their love and affection towards one another, a close bond depicted well in the film.

However, Belle is a visualized dream seeming to have been majestically stolen from my very own thoughts, a dream that impresses childhood fascination. A brown skinned woman dressed in fancifully designed, lacy, bow adorned, colorful ball gowns, wearing resplendent jewelry fit for a princess brings any period Disney film to shame. If only Princess and the Frog took this route. Words cannot begin to express the sentimental nature of Asante's gift. For the film is more than a glorious account of one woman's desire to see ancestors set free. It showcases a woman deserving love and respect.

 In Indiewire, Asante states:

When you see the real painting, which is at Scone Palace where Lord Mansfield was born, there’s more depth, you can see right to the back of the painting. And I got so much from it. The way Elizabeth is touching Dido, the way Dido is pointing at herself and looking straight at the painting, I wanted that to be her landing place, where she ends up. Once she’s combined this idea of being half daughter of slave, half daughter of aristocrat, half black, half white, all these seemingly contradictory terms, she has to combine and accept, and say "I’m ok with who I am. I’m bloody different from everyone I know, but I’m ok with that." I always say, this isn’t a Cinderella story, this isn’t rags to riches, this is a story of a girl who was loved, but has to teach people the right way to love her, the way she needs to be loved. So I took as much as I could from the painting, and then focused on the research as well.

I have it in mind that I will see this painting. I will. This piece of art commemorates womenly friendships in such a radiant light. We don't see racial prejudice or disdain. We don't see society dictating placement. We see two women who love one another intimately, familiarly.  Not incestuous or lesbian love, but an ardent, accepting love.

In her first period piece, standout Gugu Mbatha-Raw exhibited a versatile array of emotion as a woman torn between two worlds- European privilege and African ancestry. Mbatha-Raw must helm more of this purely white genre, breaking racial prejudice, setting foot into perhaps popular Jane Austen arena. One cannot help but wonder if Tom Felton was chosen due to his venerable sneering capability and the fact that one of his famous roles, Draco Malfoy from Harry Potter series included abhorrent dislike of Mudbloods- mixed magical folk.

Still, Asante shepherding Dido's story brings forth an inspiring hope for more to come. Only her second film, this BAFTA Award winning former actress, producer, and director is breaking new ground. Everyone is cheering her on. Palm Springs Film Festival named her a Director to Watch and she's won the Signis Award at the Miami Film Festival. Profound ladies like Terry McMillon are singing her praises on Twitter and interest has sprung all over again for her award winning The Way of Life-- a film she not only directed, she wrote the screenplay! I love that in the Guardian she says that she and Dido have walked the same division everyday, defining herself bi-cultural. She truly is opening doors for other African descent filmmakers from around the globe. Perhaps with Steve McQueen's, also Afro-British, earlier Oscar win this year, we'll see the brilliant Asante in the winner's circle someday.

Amma Asante is an up and coming director that we all must watch and support. She is paving the way.

Thus, I have recommended Belle to all those who will listen and pray that once awards season hits that Belle will not be put on backburner, especially for costume design. Directional effort for Asante and a nod for Mbatha-Raw might be a bigger stretch, but we don't want to have another Pariah or Fruitvale Station on our hands. Hollywood needs to wake up and smell the beauty-- the beauty of the Negro experience whether it be in America or in the heart of Europe or anywhere else in the world. People of color exist and they have human experiences worth acknowledging, worth accepting.

Belle is a fascinating, moving art that makes tears fall in great abundance. A viewer simply cannot help desiring Kleenex and some good old- fashioned love.

Now please go watch. It's playing nationwide.