There are few actors as versatile and intensely arresting as LaKeith Stanfield. Since appearing in Destin Daniel Cretton's Short Term 12 upon graduating from high school, Stanfield has gone on to work with premier talents, including Ava DuVernay, Jordan Peele and Donald Glover. Most recently, he joined his contemporaries Jonathan Majors, Regina King and Idris Elba in Netflix’s thunderous Western The Harder They Fall.
Continue reading at Netflix’s Tudum.
Before the opening credits of Jeymes Samuel’s “The Harder They Fall” splash across the screen, outlaw Rufus Buck (Idris Elba) has already murdered two people, irrevocably changing a young boy’s life and setting the stage for an epic-scale shoot-em-up in the process. Set in the Old West, the Netflix feature has all the bells and whistles of a traditional Hollywood Western, but Samuel’s debut feature isn’t just a new spin on classics of the genre like “The Man Who Shot Liberty Valance” or “The Good, The Bad and The Ugly.” This narrative is grounded in actual history.
Samuel’s world is populated by characters named after real-life Black figures who lived (and sometimes caused chaos) in the Old West. For Samuel and his star Jonathan Majors, who plays the revenge-minded Nat Love, it was about unearthing the true history of the American West and getting into the hearts and minds of lives lived and lost without the narrative of slavery or oppression. Just as essential: finding a way of turning that history, one rarely explored on the big screen, into a brand-new cinematic adventure.
Continue reading at Indiewire.
For many of us, our introduction to Black Panther Deputy Chairman Fred Hampton began with his bullet-riddled body, a blood-soaked mattress, and a frigid winter night in Chicago. The then- 21-year-old revolutionary was a pillar in one of America's most segregated cities and in the fight for Black justice overall. In Shaka King's Judas and the Black Messiah, Hampton's (Daniel Kalyuua) brilliance, strength, and charisma are realized. While the film highlights the forces that eventually snuffed out his life, his legacy burns eternal.
Set in 1968, Judas does not open with Hampton, but instead, with William O'Neil (LaKeith Stanfield), a low-level criminal who, after finding himself in the clutches of the Federal Bureau of Investigation (FBI), infiltrates the Panthers and weasels his way into Hampton's inner circle. Previous films and documentaries have shown snippets of the Illinois Black Panther Party during this violate time in the country's history. However, this film is perhaps the most complete portrait of who Hampton was as a man, a revolutionary, and an expectant father.
Continue reading at Shadow and Act.
There has been such a void in Black Romance dramas that we didn't realize how much we were craving one until The Photograph hit us in the face.
Though we still cling to our favorites, such as 1997's Love Jones and 2000's Love & Basketball, Black romance on screen is nearly as old as cinema itself. The earliest surviving movie depicting Black intimacy is 1898's Something Good — Negro Kiss, a 29-second silent film. Since then, the romance drama category has taken off in Hollywood with timeless films like Casablanca and Titanic. Still, seeing Black people in these kinds of narratives is a rarity.
In 1964, Nothing But a Man, though not widely seen, made a powerful impact on cinema. Set in Birmingham, Alabama, it follows the romance of a railroad worker and a preacher’s daughter, played by Ivan Dixon and Abbey Lincoln. The film showcases a Black romantic drama in a way that isn’t packaged for the white masses, as has been implied of 1943's Stormy Weather or 1954's Carmen Jones. Following Nothing But a Man, films like Mahogany came to be in the 1970's. However, it wasn’t until the 1990's that a slew of romantic dramas, including The Best Man and Waiting to Exhale, or romantic comedy Boomerang began to take center stage. Yet, in the past 20 years, there have been only sprinklings of Black intimacy, sex and relationships on screen, heteronormative or otherwise, especially in mainstream cinema.
Continue reading at Shadow and Act.
Love and romance are integral parts of the human experience. However, romantic dramas in cinema starring Black people have been few and far between. Some of the most beloved have been Love Jones, The Best Man and Love & Basketball. Also, recent projects like Beyond the Lights, Moonlight and If Beale Street Could Talk have shown Black love. However, there have been limited films that solely focus on love and relationships between young Black people in the 21st century. In her New York City-based romantic drama, The Photograph, writer and director Stella Meghie is putting the spotlight on Black love stories.
The Photograph follows Mae Morton (Issa Rae), a museum curator grappling with the death of her estranged mother, a famed photographer. After uncovering a forgotten photograph in her late mother's safety deposit box, Mae embarks on a quest to unpack who her mother truly was. Her journey connects with journalist Michael Block (Lakeith Stanfield), who is working on his own story about Mae's mom.
"I was 16 watching Love Jones on repeat," Meghie explained when Shadow And Act visited The Photograph set in New York City. "It was an adult, very sexy, intellectual, sophisticated kind of love. That film shaped me a lot. Love & Basketball was a big thing for me. Gina Prince-Bythewood is a definite inspiration. Hav Plenty as well."
The Photograph is a story that the Canadian-born director has been wanting to create for years. "I talked to Will [Packer] about a romantic drama like five years ago," she revealed. "I ended up doing my first film Jean of the Joneses and then Everything, Everything. However, I wanted to come back to this script. I finally ended up writing it a few years later after we spoke about it."
Continue reading at Shadow and Act.
Image: Universal Pictures.
At present, the future isn’t looking all that bright, and if we examine the alternative universe in Boots Riley’s Sorry to Bother You, the near future looks even less promising. Set in Oakland, Riley’s whimsically boisterous satire focuses on Cassius Green (excellently portrayed by Lakeith Stanfield). Broke and desperate, Cassius is living in his uncle Sergio’s (Terry Crews) garage, aimlessly trying to find his purpose in life. His activist/artist fiancée, Detroit (Tessa Thompson), seems content in her present circumstances -- making artwork, protesting the blistering effects of capitalism and taking various odd jobs for cash. However, with his uncle facing foreclosure on his home, Cassius is desperate to live a more robust and financially stable life. Lacking any discernable skills or passions, Cassius snags a job at RegalView Telemarking. Plopped down in a dark, suffocating basement, Cassius struggles to bring in his commission-based pay. Luckily, after getting some advice from a more seasoned co-worker named Langston (Danny Glover), Cassius’ luck at work begins to change. He quickly rises the ranks – eventually becoming a coveted Power Caller in the building's penthouse under Mr. Blank (Omari Hardwick). Sorry to Bother You might seem straightforward, but its magic lies in Riley's writing and the writer/director's confidence and ambition.
Sharp and surreal, Cassius is jolted into the homes of the people that he’s calling, and that’s just the beginning of Riley's asymmetric take on storytelling. Langston’s advice is the real kicker. He instructs Cassius to use his “white voice” to bring in sales. A “white voice" isn’t simply a high pitched tone infused with proper grammar; Arrested Development’s David Cross speaks for Cassius when he opens his mouth – it’s pretty insane.
Continue reading at Shadow and Act.