October 2023 Film Watches

 

Kerry Washington as Niecy in Lift. DP: David Phillips.

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 Quartet and Alberto Lattuada’s Stay As You Are) while the other— Kit Zauhar’s actual people— 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 A Different Tree, Winter Dunn’s Junebug, and B. B. Araya’s We Are series. Excellent stuff.  

October Film Watches


1.) “Beat Street” (1984) Stan Lathan #^ 7/10

2.) “Krush Grove” (1985) Michael Schultz #^ 6.8/10

3.) “Knock At The Cabin” (2023) M. Night Shyamalan #^ 2/10

4.) “Stella With The Weight Of The World On Her Shoulders” (2015) Christopher Cole # 8/10 

5.) “How To Win” (2016) Rhasaan Nichols #^ 5/10

6.) “The Canterville Ghost” (1996) Sid Macartney # 6.8/10 

7.) “Lift” (2001) Demane Davis and Khari Streeter #*+ 8/10

8.) “We Are— Sisters” (2017) B. B. Araya #*+ 9.5/10 

9.) “The Halloween Tree” (1993) Mario Piluso 8/10

10.) “actual people” (2023) Kit Zauhar #*^ 9/10

11.) “Junebug” (2020) Winter Dunn #*+ 10/10

12.) “We Are— Friends” (2017) B.B. Araya #*+ 8.5/10 

13.) “Quartet” (1981) James Ivory # 1/10

14.) “Stay As You Are” (1978) Alberto Lattuada # 0.5/10

15.) “Room Tone” (2018) Morgan Cooper #^ 8/10

16.) “Sunshine Cleaning” (2008) Christine Jeffs #* 6.8/10

17.) “Our Father, The Devil” (2021) Ellie Foumbi #*+ 8.5/10

18.) “Lavender” (2017) Ed Gass-Donnelly # 4/10

19.) “Kiki’s Delivery Service” (1989) Hayao Miyazaki ^ 10/10

20.) “Ladylike” (2014) Tiffany Johnson #*+ 10/10

21.) “If Beale Street Could Talk” (2019) Barry Jenkins ^ 10/10

22.) “Medicine For Melancholy” (2008) Barry Jenkins #^ 7/10

23.) “The Resort” (2015) Shadae Lamar Smith #^ 8/10

24.) “Nightmare Before Christmas” (1993) Henry Selick 8/10

25.) “dawn.” (2016) Ya’ke Smith #^ 10/10

26.) “The Legend Of Sleepy Hollow” (1949) Clyde Geronimi and Jack Kinney 6/10

27.) “Hocus Pocus” (1993) Kenny Ortega 7/10

28.) “Simply Irresistible” (1999) Mark Torlov 6/10

29.) “Too Much Cendi (Skit)” (2013) A. V. Rockwell #*+ 9/10

30.) “Indigo’s Smile (Interlude)” (2014) A. V. Rockwell #*+ 10/10

31.) “Trey (Interlude)” (2012) A. V. Rockwell #*+ 9.5/10

32.) “Heist” (2012) A. V. Rockwell #*+ 8.5/10

33.) “El Train” (2014) A. V. Rockwell #*+ 10/10

34.) “A City Of Children” (2014) A. V. Rockwell #*+ 8/10

35.) “G. F. C.” (2013) A. V. Rockwell #*+ 8/10

36.) “A Different Tree” (2013) Steven Caple Jr. #^ 10/10

# first time watch

*woman filmmaker

*+Black woman filmmaker

*^ nonwhite woman filmmaker

^nonwhite filmmaker

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.

September 2023 Film Watches

 

Patrice (Maxine Turenne) and Laura’s (Laura Guzman) friendship face the ultimate adolescent test in Stefani Saintouge’s Seventh Grade. DP: Brian Diggs.

Autumn meant comfort cinema over hot soups, hot chocolate, and hot tea. It started off with Park Chan-wook’s shocking Oldboy 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 The Boy and the Heron 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 The Apartment on its last day on the Criterion Channel. Funnily enough, however, it is available on Hoopla Digital.

September Film Watches 2023

1.) “Oldboy” (2006) Park Chan-wook #^ 9.5/10

2.) “Fat Girl” (2001) Catherine Breillat #* 3/10

3.) “Cocaine Bear” (2023) Elizabeth Banks #* 2/10

4.) “Dolores Clairbourne” (1995) Taylor Hackford # 9/10

5.) “Batman: Under The Red Hood” Brandon Vietti # 5/10

6.) “See How They Run” (2022) Tom George # 4/10

7.) “The Cat Returns” Hiroyuki Morita #^ (2002) 7/10

8.) “Ghost” (1990) Jerry Zucker 9/10

9.) “My Neighbor Totoro” (1988) Hayao Miyazaki #^ 7.5/10

10.) “Porco Rosso” (1992) Hayao Miyazaki #^ 6.5/10

11.) “The Kingsman Secret Service” (2015) Matthew Vaughan # 7.5/10

12.) “The World of Arietty” (2010) Hiromasa Yonebayashi #^ 7/10

13.) “Good Kisser” (2019) Wendy Jo Carlton #* 2/10

14.) “Year Of The Rat” (2022) Ricky Qi #^ 9/10

15.) “Love At Fifty” (2022) Tan Wei Ting #*^ 9/10

16.) “Seventh Grade” (2014) Stefani Saintonge #*+ 10/10

17.) “Dream” (2015) Nijla Mu’min #*+ 8/10

18.) “Howl’s Moving Castle” (2004) Hayao Miyazaki ^ 10/10

19.) “Home Away” (2013) Hannah Yohannes #*+ 10/10

20.) “The Big Chop” (2016) Derek Dow #^ 7.5/10

21.) “Joy” (2015) Solomon Onita Jr. #^ 10/10

22.) “Inamorata” (2017) A-lan Holt *+ 10/10

23.) “Party Girl” (1995) Daisy von Scherler Mayer #* 7/10

24.) “Vow Of Silence” (2014) Be Steadwell #*^ 9/10

25) “Boyz In The Hood” (1991) John Singleton #^ 8/10

26.) “Poetic Justice” (1993) John Singleton ^ 7.7/10

27.) “Liz And The Blue Bird” (2018) Naoko Yamada #*^ 10/10

28.) “A Backyard In Baldwin Hills” (2021) Dennis Williams III #^ 6/10

29.) “The Apartment” (1960) Billy Wilder # 9.5/10

# first time watch 

*woman filmmaker 

*+Black woman filmmaker 

*^ nonwhite woman filmmaker 

^nonwhite filmmaker 

Other notes: list of 29 films: 25 first time watches, 19 films directed/written by nonwhite filmmakers, and 11 films made by women.

August 2023 Film Watches

Lorraine Touissant, Charli’ Gurl, and Pernell Walker star in Jenn Shaw’s Gaps. DP: Michelle Clementine.

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. 

Furthermore, Blackstar Film Festival continues to offer us reprieve from white centered narratives— at least for a sweet, humble while.  

August Film Watches


1.) “Beneath The Surface” (2023) Cai Thomas #*+ 8/10

2.) “Sol In The Garden” (2023) Débora Souza Silva and Emily Cohen Ibañez #*^ 8/10

3.) “What These Walls Won’t Hold” (2022) Adamu Chan #^ 8/10

4.) “This Place” (2022) V. T. Nayani #*^ 7/10

5.) “Sweatshop Girl” (2023) Selma Cervantes #*^ 9.5/10

6.) “Sundown Road” (2022) M. Asil Dukan #*+ 6.5/10

7.) “Living Proof” (2022) Tina Farris #*+ 8.5/10

8.) “The Vacation” (2022) Jarreau Carrillo #^ 9/10

9.) “The Freedom To Fall Apart” (2023) David A. Gaines #^ 6/10

10.) “A Place of Our Own” (2022) Ektara Collective #^ 8.5/10

11.) “Jonathan Thunder Good Mythology” (2023) Sergio Mata’u Rapu #^ 8/10

12.) “Sydney G. James: When We See Us” (2022) Juanita Anderson #*+ 10/10

13.) “Yo Soy Bella Negra” (2023) Vashni Korin #*+ 10/10

14.) “Fierceness Served! The EnikAlley Coffeehouse” (2021) Michelle Parkerson #*+ 9.5/10

15.) “Here, Hopefully” (2023) Hao Zhou #^ 8.5/10

16.) “The Script” (2023) Brit Fryer and Noah Schamus #^ 6.5/10

17.) “Pandemic Bread” (2023) Zeinabu irene Davis #*+ 9.5/10

18.) “Bone Black: Midwives Vs. The South” (2023) Imani Nikyah Dennison #*+ 9/10

19.) “The Aunties” (2022) Charlyn Griffith-Oro and Jeannine Kayembe-Oro #*+ 8/10

20.) “Mirasol” (2023) Annalise Lockhart #*+ 10/10

20.) “Gaps” (2023) Jenn Shaw #*+ 10/10

21.) “Looking Back At It” (2023) Felicia Pride #*+ 8/10

22.) “Team Dream” (2022) Luchina Fisher #*+ 7/10

23.) “MnM” (2023) Twiggy Pucci Garçon #^ 8.5/10

24.) “Accidental Athlete” (2023) Kevin Jerome Everton and Claudrena N. Harold #+*^ 8/10

25.) “Over The Wall” (2023) Krystal Tingle #*+ 10/10

26.) “Ampe: Leap Into The Sky, Black Girl” (2022) Claudia Owusu and Ife Oluwamuyide #*+ 10/10

27.) “The Alexander Ball” (2022) Jessica Magro #^ 9/10

28.) “Know Your Place” (2022) Zia Mohajerjasbi #^ 6/10

29.) “Spirit Emulsion” (2022) Siku Allooloo #*^ 9/10

30.) “Mother Just a Smile” 2022) Cyrielle Raingou #*+ 10/10

31.) “The After: A Chef’s Wish” (2022) Umar Riaz #^ 9/10

32.) “Sèt Lam” (2022) Vincent Fontano #^ 8.5/10

33.) “Between The Colony and The Stars” (2022) Lorran Dias #^ 8/10

34.) “Crooklyn” (1994) Spike Lee ^ 10/10

35.) “Coconut Head Generation” (2023) Alain Kassanda #^ 9.5/10

36.) “Is My Living In Vain” (2022) Ufuoma Essi #*+ 9/10

37.) “The Space Race” (2023) Diego Hurtado de Mendoza and Lisa Cortés #*+ 10/10

38.) “Conversations With Ruth de Souza” (2022) Juliana Vicente #^ 10/10

39.) “Paid In Full” (2002) Charles Stone III ^ 6/10

# first time watch 

*woman filmmaker 

*+Black woman filmmaker 

*^ nonwhite woman filmmaker 

^nonwhite filmmaker 

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.

June & July 2023 Film Watches

 

A scene from Hong Song-eun’s Aloners (2021). 

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 Past Lives (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 Pretty Red Dress and Davy Chou’s Return To Seoul, a favorite from many Best of 2022 Films lists. 

June Film Watches

1.) “Past Lives” (2023) Celine Song #*^ 8.5/10
2.) “Broker” (2022) Hirokazu Kore-eda #^ 8/10
3.) “Return to Seoul” (2022) Davy Chou #^ 8.5/10
4.) “The Hound of Baskerville” (1959) Terence Fisher # 6/10
5.) “Addams Family” (1993) Barry Sonnerfield 7/10
6.) “Past Sins” (2006) David Winning # 3/10
7.) “Pretty Red Dress” (2023) Dionne Edwards #*+ 9.5/10
8.) “Ms. Matched” (2016) Max Jean # 2/10
9.) “Harry Potter and the Half-Blood Prince” (2001) David Yates 7/10
10.) “Superintelligence” (2020) Ben Falcone # 2/10
11.) “Veracity” (2015) Seith Mann #^ # 8/10
12.) “Dream Lover” (1993) Nicholas Kazan # 5/10
13.) “Single White Female” (1992) Barbet Schroeder # 4.5/10
14.) “You and I and You” (2015) Terence Nance #^ 7/10
15.) “The Couple Next Door” (2020) Abbesi Akhamie #*+ 10/10
16.) “The Last Seduction” (1994) John Dahl # 3/10
17.) “Wild Orchid 2: Blue Movie Blue” (1992) Zalman King # 1.5/10
18.) “Northanger Abbey” (1987) Giles Foster # 7.5/10
19.) “The Assassin” (2016) Hou Hsiao-hsien #^ 6.5/10
20.) “Cinnamon” (2023) Bryian Keith Montgomery Jr. #^ 6/10
21.) “Still Waters Run Deep” (2017) Abbesi Akhamie #*+ 9/10
22.) “Paraya” (2016) Shateel Magen and Martin Morganfield #*^ 8/10
23.) “Gallo Rojo” (2016) Alejandro Fadel and Zamo Mkhwanazi #*+ 8.5/10
24.) “Lokoza” (2016) Zee Ntuli and Isabelle Mayor #* 9/10
25.) “The Beast” (2016) Samantha Nell and Michael Wahrmann #* 8/10
26.) “Beyond Merritt” (2014) Reuben Johnson #^ 6/10
27.) “Aloners” (2021) Hong Sung-eun #*^ 10/10


July Film Watches

1.) “The Perfect Find” (2023) Numa Perrier #*+ 5/10
2.) ”Lying Eyes” (1996) Marina Sargenti #* 2/10
3.) ”The Phone Call” (2013) Mat Kirkby # 8/10
4.) ”Lady Chatterly’s Lover” (1982) Just Jaeckin # 4/10
5.) ”Barbie” (2023) Greta Gerwig # 7/10
6.) ”All That Heaven Allows” (1959) Douglas Sirk 9/10

# first time watch 

*woman filmmaker 

*+Black woman filmmaker 

*^ nonwhite woman filmmaker 

^nonwhite filmmaker 

Other notes: list of 33 films: 30 first time watches, 15 films directed/written by nonwhite filmmakers, and 12 films made by women.

‘Earth Mama’ Pushes A Desperate Mother Into A Poignant Trimester

 

Earth Mama film poster.

Earth Mama comes in threes, a symbolic trifecta perhaps.

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.

Gia (Tia Nomore, far right) becomes accustomed to being out of the picture. DP: Jody Lee Lipes.

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.

Trey and Shaynah are Gia’s entire world. She loves them so much. 

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...

Trina (Doechii) does Gia’s (Tia Nomore) hair. DP: Jody Lee Lipes.

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. 

Gia (Tia Nomore) and Mel (Keta Price) walk through nature. DP: Jody Lee Lipes.

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. 

Gia (Tia Nomore) looking through potential families for the baby in her womb with Miss Carmen (Erika Alexander). DP: Jody Lee Lipes.

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. 

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 American Fiction), Savanah Leaf’s refreshing voice revives a deadening industry, a nice, sentimental surprise coming from a former Olympian. The starkly written and directed Earth Mama aligns with the sensitive material explored in Leaf’s earlier documentary short film The Heart Still Hums (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. 

It is highly recommended to watch The Heart Still Hums and Earth Mama together. 

Trina and Gia. DP: Jody Lee Lipes.

Also, similarly to A. V. Rockwell’s A Thousand and One, Earth Mama 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. 

Overall, Earth Mama 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. 

The New ‘Goosebumps,’ Analyzing Allison’s Trope Purpose

Goosebumps series poster.

Another revamped version of R. L. Stine’s Goosebumps 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 Say Cheese and Die— the episode starring a young Ryan Gosling and The Haunted Mask, 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.

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.

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. 

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. 

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.

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. 

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.

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.

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. 

Isaiah (Zach Morris) aka Fred and Margot (Isa Briones) aka Daphne of this makeshift Scooby gang. DP: Stephen McNutt and Thomas Yatsko.

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. 

“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 Everybody Hates Chris. 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. 

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.

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?

Maria (Rhinnan Payne) in the forthcoming short film, Are You Hungry?— cinematography by Belen Garcia, photo by Luka Ciprian.

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 Are You Hungry?— 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 Goosebumps, 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.

May we always remember Allison (Rhinnan Payne) dressed as Uma Thurman’s infamous Bride and SZA’s Kill Bill playing on the rolling end credits— probably one of the more clever moments in the series. DP: Stephen McNutt and Thomas Yatsko.

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 Goosebumps except Biddle and his parents— rest in peaches).

‘Our Father, The Devil,’ Teaches Of Untold Hells On Earth

Our Father, The Devil film poster.

Our Father, The Devil 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? 

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.

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. 

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. 

All the prayer and time in the world cannot change a victim’s inherent trauma, Father Patrick (Souleymane Sy Savane). DP: Tinx Chan.

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? 

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.

But she was not going to forget what was done to her or her family. 

Our Father, The Devil 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 Nikyatu Jusu shorts, Suicide By Sunlight and Say Grace Before Drowning and Abbesi Akhemie’s The Couple Next Door. 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. 

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.

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.

Overall, Our Father, The Devil sends guttural shivers through the heart and mind. It’s thrilling, mysterious, sensuous, and difficult, but leaves an unforgettable impression.