Love Comes Unexpectedly In ‘Umjolo There Is No Cure’

 

Thoko (Londeka Sishi) and Liana (Busisiwe Msthali) take the long route towards love in Mthunzi Dubazana’s Umjolo There Is No Cure. DP: Tiyane Nyembe.

Hell breaks loose when Thoko Duma, South Africa’s out and proud reigning Beauty Queen disrespects newly crowned Miss Kenya on the radio. With Thoko’s queendom revoked and endorsements disappearing, she has no other choice but to crash at her agent Buhle’s roomy, posh apartment. 

Buhle (Tina Redman) and Thoko’s professional relationship has an easy going edge. They act more sisterly than client/agent. DP: Tiyane Nyembe.

Thoko wants to save her reputation throwing out ideas that’ll make the public be on her side again— a reality TV show and writing a memoir. Buhle stands in her client’s corner one hundred percent on most matters (like giving her girl a home). Thoko and Buhle are both proud queer women whose strong relationship has a sweet, tender vibe that’s great to see outside of the stereotypical graphic violence depicted towards lesbians. Buhle encourages Thoko to branch out, promising to save her from the unfortunate mess. 

Liana Ndluvo runs Black Books. DP: Tiyane Nyembe.

Liana nervously looking over the luxurious place she’s built. She’s the kind of writer who prefers to hide under a shroud of mystery than entertain the public eye for even a second. DP: Tiyane Nyembe.

On the opposite spectrum, noted romance author and Black Books owner Liana Ndluvo thrives on anonymity. No one knows what she looks other than her overbearing mother and best friend Zweli, musician, visual artist, and main Black Books employee. Unlike Satin’s tightly packed, eye enchantment bookshop depicted in Water in a Broken Glass, Liana’s Black Books is an airy paradise. Spacious surroundings, books pushed against walls, strategically placed tables, comfortable chairs, and sporadic plants entice inhabitants to relax and linger for a while. Black business owners often employ individualized models that venture beyond a singular purpose. For example, Satin’s bookstore shows art and offers custom framing whereas Liana includes a complete cafe experience serving beverages and desserts like butterscotch cake and cookies. 

Liana is grateful for Thoko’s thoughtful encouragement. DP: Tiyane Nyembe.

At the planned book signing in her own shop, Liana’s panic attack causes her to flee from the fans waiting to finally meet their favorite anonymous author. Anxiety and shyness mixed together with social interaction amps up an all-too believable fear. A chance encounter with a woman who’ll eventually change her life makes Liana feel much better. 

And that woman is Thoko. 

Zweli is the nonjudgmental support system that Liana needs. DP: Tiyane Nyembe.

When Zweli interferes into Liana’s plans, she decides to take on another identity Nana, Liana’s personal assistant, secretly accommodating Thoko’s wish to have her favorite author pen her memoir. Thoko doesn’t question Liana’s holed story, doesn’t bring up that in their impromptu meeting Liana claims to be saddened over “Liana not showing.” Now she’s the assistant to the woman she was upset over? Thoko wasn’t caring about addressing the facts at all. Perhaps the instant attraction blinded Thoko to consider Nana being Liana. 

Thoko spends a lot of time with researcher “Nana.” A sweet connection forms, blossoming into more than “Nana” taking notes for Thoko’s memoir. DP: Tiyane Nyembe.

Still, Liana may be a writer, but she’s a terrible liar. 

Naturally, as the polar opposite ladies chat, they find themselves feasting on each other’s company. The timid Liana surprisingly opens up authentic parts that were locked during her blind dates with sketchy men. Thoko also lets down her guarded tendencies, very much receptive to breaking the quiet girl out of her shell— and yes that means karaoke singing and attending soirées together. 

Accidentally eating edibles upsets a shaky balance.  

While Liana’s silly taste of truth serum aka humiliating side effects gradually wear off, Thoko should have used that momentum to investigate who owned Black Books. Thoko is hurt by Liana’s rejection, robbing her of intuitiveness. Too many coincidences regarding Liana to ignore, especially an outburst speaking volumes. Yet, Thoko thinks nothing of it, instead falling right into Chef Sindi’s spiderweb, turning a slow burning romance into full-fledged soap opera territory. 

Sindi pulls out all stops on her grand schemes, preying on Thoko’s innermost weakness for reinventing her tarnished image. DP: Tiyane Nyembe.

Sindi and Thoko share a romantic nighttime boat ride. DP: Tiyane Nyembe.

Chef Sindi has a more loving relationship to her phone than Thoko, pulling extreme gestures from a love bomber’s playbook. She milks the social media for all it can offer her, gleefully relaying that her posts with Thoko receives the most views and comments. Thoko allows it in her desperate attempts to get back into society’s good graces, manufacturing a good image to prove she’s no longer a bratty mean-spirited woman. Behind Thoko’s defeated eyes reveals a desire for something more real. 

The charged confrontation scene between Thoko and Liana leaves a bitter aftertaste. Liana shows backbone at last, but she also has a hypocritical hand to play, rejecting Thoko a second time. 

The universe forcing Thoko to read Liana’s novel “Never Look Back…” DP: Tiyane Nyembe.

as Liana finishes up ghostwriting Thoko’s memoir. DP: Tiyane Nyembe. 

Meanwhile, a cried out Liana finishes her assignment and resumes dating men, even returning to the first red flag first date. Liana treads backward despite her words to Zweli on giving up Thoko without really fighting for a chance. It goes back to her awkwardness, her terrifying insecurity. She convinces herself to hide behind heteronormative narrative as opposed to living in queerness, essentially mimicking a fabricated character she creates. 

Thoko and Liana’s kiss— a first for Liana— was a letdown when compared to Thoko and Sindi. DP: Tiyane Nyembe.

Among generic misunderstandings and obvious half-truths, the other downside to Umjolo There Is No Cure lies in its buildup to a potentially epic romance as wonderful as Rafiki and Pure. Liana was practically the Black girl response to the poorly aged classic Never Been Kissed, our modern-day twist to Josie Gellar, also a writer/journalist. Instead the film leaves us with two chaste pecks after Sindi and Thoko’s hot and heavy passion burned through the silver screen. Was that to suggest Liana’s virtuousness must remain intact regardless of whom she finally chooses to love? That viewers must use their vivid imagination to wonder how deep Liana and Thoko’s bond grows offscreen? This is not to say that the film owes an explicitly sexually charged moment. It needed to offer a worthwhile end to Liana’s pent up desires, to show a satisfying conclusion to her character arc. There were missed opportunities to close this important chapter with a deeper, meaningful wrap up to Liana and Thoko’s journey. 

Zweli advises Liana to go after what she wants— and be honest about her feelings. DP: Tiyane Nyembe.

Buhle— who has gone beyond for her client and friend— has no hard feelings about Thoko’s decisions on her career path. DP: Tiyane Dyembe. 

A pleasant highlight about Mthunzi Dubazana's directional effort based on Thuli Zuma’s screenplay, Umjolo There Is No Cure pays attention to genuine friendship foundation, showing why these specific pairings exist. The counterbalanced friendships lend a constant ongoing salve against the blossoming romantic drama— Zweli and Liana and Buhle and Thoko give the storyline enough humor and integrity to keep it fresh, not as stale as it could have been. Zweli knows Liana inside and out, her pleasure for writing and selling books, making tea to console her, and listening to her sensitive troubles sans negativity. When she has her crash outs, he’s always there in her corner offering diligent care and support, proving that men can be a woman’s companion without the bartering for an indecent incentive. 

Liana, the most dedicated Black woman writer in film. DP: Tiyane Nyembe.

Overall, Liana and Thoko’s radiant cuteness beautifully portrayed by actresses Bisisime Msthali and Londeka Sishi, the amazing soundtrack, the lovable side characters—wise wingman Zweli and humorous wingwoman Buhle, and the hairstyles and costumes (even the extras were stylish) makes for an uncomplicated rewatch. 

An Artist Searches For Her Love Language In ‘Water In A Broken Glass’

 

Water in a Broken Glass film poster.

“The brush speaks for me even though I am afraid of what it might say.”

Water in a Broken Glass, Jamelle Williams-Thomas’s debut feature-length film based on Odessa Rose’s novel, bravely explores Tonya Simms, a young Black artist suppressing her sexuality just as her career hits a minor snag. Set in Baltimore, Maryland, this coming of age story weaves many precious pieces together that make for an overall resonating romantic drama. 

The film starts on the aftermath of teenage Tonya nursing a black eye from bully Meyoki. Tonya’s best friend Nikki teases her about a realist portrait of Meyoki. Even Aunt Josephine seems bothered by the artwork, telling Tonya that she’s beautiful. Perhaps Aunt Josephine— who keeps eying Tonya with a clairvoyant lens—believes Tonya commemorating Meyoki means something much deeper than surface level aesthetics. Why did Meyoki punch Tonya? Had she found out about the painting? 

Tonya Simms (Billie Krenshawn) creative genius at work. DP: Kirby Griffin Jr.

Six years later, Tonya has built a solid career, working in her own studio, gaining a prominent commission contract. During a video phone call with Nikki while driving, Tonya accidentally runs into a handsome bicyclist named Malcolm. Certainly no ordinary meet cute. Instead of being grossly offended by Tonya’s negligence, Malcolm appears smitten as does Tonya who fixes her hair before giving him her phone number— for insurance exchange purposes of course. 

Tonya still in shock at hitting a man on a bike. DP: Kirby Griffin Jr. 

Malcolm (Wes Hall), however, doesn’t seem too bothered by the incident— after he sees the culprit. DP: Kirby Griffin Jr.

The love story between Tonya and Malcolm checks all the right boxes, inciting giddy feelings galore over tech guy Malcolm playing chivalrous gentleman. During their awkward first date at a nighttime gallery / cafe, Tonya shyly puts her hand to her face. Malcolm softly pushes it away, saying “don’t do that. You’re beautiful.” His charm, thoughtfulness, and respect for her as an individual person and a creative showcases a man who understands the importance of having emotional intelligence and empathy, traits usually lacking in most men. On a picnic, he gifts her the best quality paintbrushes even though she doesn’t need them. He asks to show up at her studio to watch her work, making a place for himself in her world not to center his intentions, but to give her extra strength and support, to prove that he wants all of her, the woman and the visual artist. His playful side also shines bright, allowing Tonya to be relaxed and safe. 

Tonya and Malcolm dancing together against this backdrop was both funny and sweet. Believable vibes they sent out, allowing themselves to let loose and be free with each other. DP: Kirby Griffin Jr.

Tonya and Malcolm vignettes, vulnerable, tender, loving moments, comfort. DP: Kirby Griffin Jr. 

Nikki has given Malcolm Aunt Josephine’s bread pudding recipe (one of Tonya’s favorite desserts) proving chivalry is not dead. Malcolm asking a best friend questions to get to know his girlfriend better is top notch. Also, are they drinking horchata? DP: Kirby Griffin Jr.

Tonya and Malcolm embody strong, healthy Black love. They want to learn about each other, adapt to this newfound chemistry. The exchanges between them feel natural. The corny jokes and laughter provides an authentic wholesomeness. Highlight moments include Malcolm opening his toy car collection and Tonya sliding her naked paintbrush along the contours of his slumbering body. 

On the other hand, however, Tonya enters a bookstore that also specializes in art framing, meeting a woman who will alter the course of her life.

Satin Mitchell represents a proprietor rarely seen in media— a smart Black bookshop owner. Among cultural artworks and art supplies, the Black authored curated books alone promote a just reward for underrepresented voices that would usually have a challenging time in the popular book stores, potentially becoming lost, forgotten, and ultimately unread. Among her brilliant selection, Satin houses one of the greatest books ever written— African American Art and Artists written by Dr. Samella Lewis and Ruth Waddy. Her eclectic bookshop centers both the mainstream and the independent, the hard-to-find, out-of-print books meant to be in the hands of prolific urban readers, finding stories and histories where they see themselves fully realized. Satin later divulges to Tonya the hardship in acquiring loans in order to start forming the possible safe space, facing countless rejection, someone having the audacity to say, “your business model is not lucrative” which she suggests, “that is code for Black people don’t read.” 

With all this substantial wealth and scholarship, Satin leads Tonya with her expansive knowledge and wisdom as well as an admitting to be a longtime fan of Tonya’s art. 

Tonya speaks to Satin (Toni Belafonte) who turns out to be a huge fan of Tonya’s work. DP: Kirby Griffin Jr.

Satin’s bookshop holds an archival treasure trove and Tonya easily could get lost there. DP: Kirby Griffin Jr. 

With Satin, Tonya’s shy behavior increases. Tonya has difficulty concentrating, lulled in by Satin’s intriguing charisma and intellect. Perhaps Tonya longs for the freedom she witnesses in Satin’s demeanor. The attraction frightens her sensibilities as she’s sure to love Malcolm much too deeply to entertain something she doesn’t want to be. Yet, Tonya tries Ethiopian food for the first time where it’s very imperative for hands to enjoy the shared meal. They start spending more time together, the outings seeming more like dates than two sister gals hanging out. Satin glimpses into Tonya’s soul and Tonya’s powerless to resist her. 

Furthermore, Tonya has started painting Satin in rich, full color from memory whereas Tonya has only drawn Malcolm in pencil. 

Tonya’s journey with Satin involves awakening a new part of herself that goes beyond physical desire for another person, it asks that Tonya learn who she truly is. DP: Kirby Griffin Jr.

Tonya tries on a gorgeous dress and Satin’s more than happy to bestow compliments. DP: Kirby Griffin Jr.

In the midst of the whirlwind triangle, Tonya’s current commission hangs in the balance. First, she doesn’t look into the owner of her new contract, believing that Dr. Lloyd would be a man. This slight wasn’t a good introductory look. Then again some artists are not keen on research. Yet, Tonya continues throwing out damaging information in her interview, worsening her position on her own art. So accustomed to being led by other people’s ideas, Tonya’s voice becomes lost, discombobulated. Dr. Lloyd recognizes the flaw and threatens to end her allegiance. 

Dr. Lloyd (Carlyncia Peck) was not impressed by Tonya’s portfolio or her shaky responses to certain questions. DP: Kirby Griffin Jr.

Tonya is left with much to reflect on. DP: Kirby Griffin Jr.

Simultaneously, Tonya’s relationship with Nikki starts to dangle by a fragile thread. New romantic entanglements can cause friendships to fall by the wayside, a familiar territory analyzed across many shows and films. Couples often forsake family and friends to stay permanently lodged in their connection bubbles. Nikki has to not only compete with Malcolm for Tonya’s time and energy, there’s Satin eating up the remainder. Doubly outcasted Nikki has no choice than watch Tonya’s love life unfold on the sidelines. Furthermore, Nikki’s hurt too by Tonya fighting against the undercurrents of being closeted in. Tonya doesn’t owe Nikki an answer as she needs to process this on her terms, but Tonya has to realize that Nikki loves her unconditionally and so does Aunt Josephine. Whatever happens in Tonya’s heart will not change Nikki’s devout commitment to her best friend. 

Nikki (Candiace Dillard), a doctor, stands by her bestie Tonya despite Tonya frequently bailing out on her. DP: Kirby Griffin Jr.

Then, comes other dramas. 

Satin comes to Tonya’s art opening with her girlfriend Robin (Lee Avant). 

Satin treats her photographer girlfriend Robin horribly. Satin’s tight lips and severe glances towards Robin at Tonya’s art opening differs completely from the gentle regard she conveys to Tonya. The minute Tonya arrives to Satin’s house, Satin and Robin are fighting outdoors, Robin leaves looking shaken. In this instance, Satin seems to already be pushing Robin away in order to seduce Tonya who has a naïveté about herself. Tonya is so clouded by emotional distraction that the rose colored glasses blinds her.

Award-winning theatre actress Ronea Brown comes in for a short moment as Zona, Malcolm’s ex girlfriend, the love of his life who cheated on him. DP: Kirby Griffin Jr.

Meanwhile, Malcolm’s ex girlfriend Zona enters his apartment as Tonya and Malcolm are in flagrante. Zona calls Tonya a “downgrade” and Tonya’s ready to fight. Zona’s unexpected appearance must have had Malcolm speechless for him not to defend Tonya’s right to be there raised alarm. 

Coincidentally, Satin owns Tonya’s painting of Meyoki. This sets off a chain reaction when Satin sees that Meyoki (Shani Ashley Francillon) is indeed a real person, not a manufactured enigma from Tonya’s imagination. And Meyoki is very much interested in Tonya too. DP: Kirby Griffin Jr.

As Tonya lies in the thick of messy triangulations, the film raises valid questions for these multifaceted, intertwining characters. Are things truly over for the couples involved? If one person is finished and the other clearly is not, what then? How can you admit to a potential partner that your previous relationship has loose ends? Still, cheating cannot be the solution. Leaving unhappy situations saves a conscious mind from the plight of negative feedback, of knowing that someone you once loved despises you. Tonya’s heart predicament has the power to cause pain for either Malcolm and Satin. She has to decide who’s hurt can she survive post-decision. 

Aunt Josephine (Victoria Rowell) comforting a torn Tonya. DP: Kirby Griffin Jr.

It is Aunt Josephine who assures Tonya that whatever choice made is a good foundation to stand behind. Tonya will soon no longer fear the truth of her paintbrush, coming forth with a purpose that turns Dr. Lloyd’s earlier wariness into admiration. 

Bravo.

Janelle Williams-Thomas and Danielle Mooney’s groundbreaking Water in a Broken Glass screenplay sheds light on the complications between societal expectations of love, mainly Black communities across America remain having a frigid acceptance towards LGBTQIA relationships. Thus, Williams-Thomas manages to capture outstanding performances from her leading actresses Billie Krenshawn (Tonya) and Toni Belafonte (Satin) and supporting man Wes Hall (Malcolm) with a tremendous revelation from soap opera favorite Victoria Rowell aka Young and the Restless’s iconic Drusilla Barber Winters. Symora Thomas’s terrific art direction, set decoration, and artwork, Kirby Griffin’s splendid cinematography, Nakiah Aiyana’s chic styling/costume design, and Autumn Meade’s incredibly inspiring hairstyles add extra sleek finesse. 

Tonya’s hair exhibits a refreshing confidence. May have to write a film sister version to the TV/streaming series natural hair icons noted here. DP: Kirby Griffin Jr.

Overall, the profound, nearly two-hour Water in a Broken Glass deserves to be included in dialogue among essential queer cinema. Allow this a seat next to dee rees’s Pariah and Wanuri Kahiu’s Rafiki. It tackles the challenging task of bisexual identity with dignified grace and ties that journey to being an artist— a complex system historically promoting mainly white male gaze (as we see in the film industry as well). Worth repeatedly watching, Water in a Broken Glass proves that there’s no one way to fall in love. 

Chelsea Hamilton and Dr. Madison Montgomery’s Romance Heats Up Faster Than The Speed of Light

 

Chelsea (RhonniRose Mantilla) isn’t afraid to dive in with young neurologist Dr. Madison Montgomery (Kenjah McNeil). DP: Vincent Steib.

Beyond the Gates continues making soap opera history with its latest story— Chelsea Hamilton and her girlfriend Dr. Madison Montgomery. 

Chelsea, the retired supermodel and newbie purse designer, has explored her bisexual status since the soap’s February debut. Originally, an enthusiastic third for adventurous couples, Chelsea’s the type not to be defined by labels. Craig and Allison, Chelsea’s last polyamorous relationship, saw her choosing to primarily commit to her lesbian side, setting out to separate Allison from her husband for a while. The move seems straight out of the Bill Hamilton playbook, predatory cheating strategies showcasing that the apple doesn’t fall far from the tree. In her personal life, Chelsea can behave similarly like her father— a man who committed adultery for years. 

Yet, Chelsea has the tendency to fall hard and fast—perhaps a trait of her zany mother Dani Dupree-Hamilton? 

Chelsea and Dr. Madison share wine and affection at the pad that Chelsea shares with her cousin and best friend Kat Richardson. DP: Vincent Steib.

After being dumped by Allison just before June’s Pride Month started, Chelsea meets a mysterious woman at the hottest nightclub in town, flirting up a storm. It turns out Madison is a neurologist— her own father’s stroke doctor. Chelsea holds nothing back, becoming a full-fledged seductress of the highest order, ambushing the gorgeous doctor at the hospital, thirsty as heck despite not getting the water her inpatient father needed. Skipping many steps including the crucial angst part, Dr. Madison succumbs to Chelsea anyway— a couch date, the quickest blink-or-you-miss-it love scene, the introduction to the uppity Dupree family, and the “I love you,” hearts in her eyes. Chelsea and Dr. Madison are moving at the speed of light, ultimately symbolizing the unfortunate U-Haul trope. Does this mean that their fast relationship could crash out at the same pace? Sugar can only jolt the adrenaline for so long. What exactly are Dr. Madison’s intentions towards Chelsea? 

While it may seem downright boring in a soap opera— a genre often thriving on pushing wild, outrageous envelopes and overzealous acting decisions— the fascinating parts about Chelsea and Dr. Madison are their Bechdel Test passing conversations. They center topics such as coming out to their respective families and their individual career paths. Chelsea’s extrovert personality could clash with Dr. Madison’s humbleness. These hardworking women share a common passionate drive and of course— a growing ardor for each other. Sure, we’ve missed the longing looks cementing a fresh romance, but we’ve got public handholding, smooches, and dialogue. With a cast this stacked (and talented), it is pure luck to even receive little tidbits of these lovers.  

Allison (Brianna Roberts) lets Chelsea (RhonniRose Mantilla) that she wants her back. It won’t make Dr. Madison (Kenjah McNeil) pleased. DP: Vincent Steib.

A heavily accessorized Chelsea reassures Dr. Madison that she’s locked in. DP: Vincent Steib. 

Chelsea and Dr. Madison’s romance is put to the test by the sudden reappearance of Chelsea’s married ex Allison. This latest development complicates Fairmount Crest’s overwhelmingly saturated landscape of triangles and quadrangles— Kat/Tomàs/Eva, Hayley/Bill/Dani, Dani/Andre/Ashley/Derek, Nicole/Ted/Leslie. A slightly deranged Allison’s urgent desire for Chelsea pinpoints the Beyond the Gates writers’ leniency on interlopers to create a couple’s conflict. If the other dynamics didn’t exist and the overly rushed Chelsea and Dr. Madison were shown more frequently, this Allison angle would be enticing front burner stuff. After all, it is not everyday you see three Black women fighting for each other romantically in daytime. 

Chanel (Reagan Gomez) and Nova (Rutina Wesley) from Queen Sugar.

Max (Chanté Adams) and Esther (Andia Winslow) from A League of Their Own.

Eva (Gail Bean) and Tye (Jerrie Johnson) from Harlem also had a U-Haul relationship. 

Black women falling head over heels with each other onscreen remains a rarity. Television and film have a longstanding preference for interracial LGBTQIA couples from Cheryl Dunye’s classic The Watermelon Woman to Maria Maggenti’s The Incredibly True Adventures of Two Girls Falling in Love. Even this Buzzfeed list contains mainly white or interracial TV lesbian couples. Every now and again, a thoughtful Black woman filmmaker makes slow burned sapphic cinematic masterpieces: dee rees’s Pariah, Wanuri Kahiu’s Rafiki, and Natalie Jasmine Harris’s Pure and Grace are prime examples. Nova and Chanel were short-lived territory in Queen Sugar, Max and Esther briefly steamed up the sadly cancelled in A League of Their Own, and Eva and Tye got engaged in Harlem. Chelsea and Dr. Madison adding to this equation has the opportunity to shift the narrative in a powerful way— to inspire a new normal that other TV/film writers could build off on. 

Madison and Chelsea are having problems with Allison. DP: Vincent Steib.

Beyond the Gates, a soap opera staunchly committed to being a revolutionary force, provides the “love in the afternoon” lunch hour with some gorgeous Chelsea and Dr. Madison interactions. As the two women navigate their journey among the affluent Fairmount Crest community, let’s pray that intriguing twists and turns keep their union strong. Although this may be challenging as we’ve seen the characters interact in the same locations each week, Chelsea and Dr. Madison should be attending the movies together (especially the big D.C. queer film fest), taking trips to the pool, shooting photo booth strips, hopscotching and pushing each other on swings, dancing, sharing ice creams and cakes, throwing down a game of Uno, and all kinds of lovey duvey activities to squeeze into their tight schedules. Interrupt our broadcast shenanigans with a sweet induced drama that’ll make our hearts race and burn. 

Chelsea does have a type though— Dr. Madison and Allison look alike. May the best woman win. DP: Vincent Steib.

The key to crafting groundbreaking material as sensitive and rare as Chelsea and Dr. Madison is to reflect on the viewers at home. Analyze the question— is this a valid, authentically rendered romance that audiences deserve to bear witness to? The brave writers must prove that this story truly represents a Black sapphic love worth vouching for. 

A Quiet, Symbolic ‘Grace’ Goes Against The Grains Of Sanctimonious South

Grace film poster.

Grace—the latest coming-of-age effort after writer/director Natalie Jasmine Harris’s debutante short film, Pure—adds another effective gem to a promising filmmaking oeuvre. 

Grace (Jordan Wells) embodies her name in every way. DP: Tehillah De Castro.

As a carefree, ordinary girl named Grace approaches her milestone birthday and upcoming baptism, she succumbs to the joyful pleasures of youth alongside her sister and Louise, a childhood friend. The charisma between the triad presents a natural friendship depiction. The lines of love are drawn in its unadulterated forms— affectionate sibling biology and the kindred camaraderie. What happens when those invisible lines are unexpectedly blurred? Can an innocent heart stay ruled by a strict upbringing or will it surpass the safe, platonic road? 

Big Mama’s teachings on the Deep South stage heightens Grace’s burgeoning sexuality dilemma. It’s where the unsettling righteousness bellows beneath the exterior of precious girlhood. Between the delightful smiles and the singsong handclap games, the devout undertones disturb the humble peace. 

Louise (Alexis Cofield) stands on the porch, smiling down on Grace (Jordan Wells) and her sister (Mikayla Lashae Bartholomew). DP: Tehillah De Castro.

Among the pastel colored walls and the elegant white curtains parted on large, charming windows, Grace feels the pressure to be good, to follow Big Mama’s respectable example. Inside the American Gothic styled house, intentional cross patterns are repeated cues upholding the Bible structure. Although no men occupy this makeshift Black feminine utopia, an ominous presence operates as a patriarchal beacon, the judgment ensuring that all young girls must eventually submit to their duties as wives, to suppress any other “unlawful” inklings. 

Moreover, Grace’s baptism will bring the ultimate test. 

Grace and Louise strike a cord. DP: Tehillah De Castro. 

In the trajectory of Juliana Kasumu’s Losing Joy, Allie Morgan’s Sisters, Mz Roth’s code switch, Harris’s Pure, and many other Black sapphic films eloquently helmed by Black filmmakers, Grace sheds profound light on soft queer films highlighting multifaceted experiences. These brave creators are not rehashing the same, copy/paste narratives that we’re accustomed to seeing in regards to how Black women, girls, and femmes are portrayed. 

By centralizing blackness through an authentic lens, the characters must battle the fights (both internal and external) that come with the global impact of the dominant heterosexual landscape. These are the directors that deserve to invent original stories and adapt the inherent literature (Alice Walker, Toni Morrison, Maya Angelou, Gloria Gaynor, Paule Marshall…) for us to devour, to engage. Since their films asks and answers questions long raised in Black community, they need our support the most. 

The most metaphorical shot in the film. DP: Tehillah De Castro.

A straightened haired Grace rejects Louise. DP: Tehillah De Castro.

After premiering earlier this year at the Sundance Film Festival, Grace has been shown around various other film festivals such as Inside Out Toronto, Newfest Pride, and the upcoming Frameline and BlackStar Film Festival. Grace —a word meaning simple elegance— is a must see for embracing its definition beyond the leading character. Every element (small or large) enriches the layered, impactful narrative: tightly knitted frames containing vital symmetries and subtle performances by a talented cast led by its director, some period costumes (which Harris designed) call to mind Julie Dash’s Daughters of the Dust— the white dresses nodding to the film’s costume designer Arline Burks Gant, and the house right down to the object placements, an appropriate foundation for stern religious order. 

Overall, Grace is cinematic magic without spells being cast onscreen. While the visual feast thoughtfully conveys a Black girl grappling with her awakened identity, its story teaches the notion that being true to oneself is more so a blessing than a sin to be cleansed away. 

Another ‘Abbott Elementary’ Couple Bites The Dust In An Unexpected Way

 

Jacob and Zach during happier times in season one’s Zoo Balloon.

Abbott Elementary’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 him and Janine. 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.

Everyone shifted. Nothing was the same.

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?

In Break Up, the fifth episode written by Brittani Nichols (Student Transfer, Ava Vs. Superintendent, Fundraiser, Principal’s Office, and Franklin Institute), 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. 

A teary Zach (Larry Owens) agrees that a breakup may be the right thing to do for him and Jacob (Chris Perfetti) in Break Up. DP: Michael J. Pepin.

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.  

“And you held our team BACK at trivia night!” Zach snarls, emphasizing back with intentional zing.

If you remember in Desking, season one’s eleventh episode, Zach discloses that they came in third place, Jacob adding that it was due to a technicality. 

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. 

Still, queer breakups are as tragic as the BYG 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. 

Overall, Abbott Elementary’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 Joy Ride 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.

Now with another couple’s recent demise, is Barbara and Gerald or Ava and Iggie [snorts] safe?