The First Dayton Black Women’s Film Festival

 

Gorgeous photo backdrop. 

On Thursday, May 16th, the inaugural Dayton Black Women’s Film Festival hailed at the Neon Movies in downtown Dayton was an astounding, sold out success. It began with a special mixer sponsored by the multidisciplinary community collective Scripted In Black and an awesome Columbus based DJ spun killer tunes together, setting the vibe off right. 

DBWFF on The Neon’s marquee.

Patio drinks included a bubbly cherry lemonade beverage celebrating Aisha Ford’s short film. 

Official program.

DBWFF showcased fourteen incredible short films— Kierra Payne and Tiara West’s brilliant relationship breakdown Red Flags, Tiara West’s inspiring romantic Melanie & Kyle, Amira Jackson’s horror Cycle of Women (poetically based on the tragic genocide of Namibia), Allie Morgan’s poignant Sisters, Mel Andre’s experimental doc Pride Debut, and Ashley Tweety Mason’s hilarious yet timeless Revenge of the Relaxer. Che Marcheti’s Pressure and Pamela Peregrino’s Rough Tide delivered prominent looks at Black women in animation— a place that is still generally lacking Black women’s artful voices. Three Wright State University students (DBWFF team members Angelina Mitchell, Jazz Jefferson, and Morgan Johnson) showed their works as well, letting the Gem City know that we have great, up and coming talent on the horizon. 

Filmmaker Aisha Ford with the first ever Bloom Award. (photo provided by Angelina Mitchell).

The Bloom Award was created by artist Elizabeth Diggs. (photo provided by Angelina Mitchell).

Introduced by actress Sumayah Chappelle, DBWFF closed on the Bloom Award presentation of celebrated filmmaker Aisha Ford. Her three thought-provoking pieces highlighted Black girlhood in a powerful, mesmerizing attentiveness— Royal, Be a Fish, and Cherry Lemonade. 

DBWFF ends with Angelina’s whole family presenting her with gorgeous flowers and an Oscar. 

DBWFF, a beautiful and crucial celebration of Black women filmmakers, lived up to its promise and has the potential to truly make a difference in the community. It wouldn’t have been possible without the vision of creator/curator/filmmaker Angelina Mitchell (who operates with the similar passion of BlackStar Film Festival founder Maori Karmael Holmes). Her dedication to this considerably large project has been inspiring and deserving of generous praise. To end the festival on that note was so utterly moving, so profound. The next festivals will be a tough act to follow. 

The sisterhood DBWFF team— Janyce Denise Glasper, Howie Hope, DBWFF creator/curator Angelina Mitchell, Kathryn Mobley, Penda James, Morgan Johnson, and Selena Burks-Rentschler. (photo provided by Angelina Mitchell).

Plus, we have Neon manager Jonathan McNeal to thank for letting DBWFF use the large theater, Diana Cordero for helping concoct the delicious signature cocktails, and Ian Bonnett for creating lovely buttons. Sponsors included Haya Healing, Film Dayton, Mitosis, and other kindhearted supporters. 

The first DBWFF— warm, special, fun, and memorable— proved that there’s a huge desire to see the authentic films Black and non-binary women make in all forms— narrative, animation, documentary, etc. The overwhelming need for behind-the-scenes representation is as imperative as what’s happening onscreen. May this festival be the promotes a change in impossible limitations— stop the exclusion. 

Now is the time to honor the validity of Black women filmmakers.