How The Searing Short Film 'Haven' Hones In On The Beauty And Horrors of Black Girlhood

Some films remain forever embedded in your psyche and stick with you long after the final credits roll. Writer/director Kelly Fyffe-Marshall’s searing short story Haven is exactly this type of film. In a few short minutes, Haven hones in on the beauty and horrors of black girlhood -- tackling a subject that is often buried in the black community. After the film’s premiere at the South by Southwest (SXSW) Film Festival, I chatted with Fyffe-Marshall and Haven executive producer Tamar Bird about the film, its perfect casting and why it’s so important to tell painful stories. The idea for Haven was sparked by a conversation that Fyffe-Marshall had one day with her director of photography. "My DP Jordan Oram (Drake’s “God’s Plan") had shown me another film, and it was about two people in a room," she remembered. "So he sparked something in me. I thought, ‘What's something that as black women we don't see a lot of on TV?’ For me, it was a black daughter getting her hair done. That's something that nearly all black women went through at least once a week as a child. So, I started with that, and it just became Haven.”

Once the idea was formed, Fyffe-Marshall found the perfect collaborator in Bird, an actress and award-winning Canadian filmmaker. "Kelly and I have known each other for about six years," Bird revealed. "When she presented this to me, I remember saying, 'This is it. Don't do anything to it, don't change anything. This is perfect. This is what we need; this is what the world needs.' From there we just wanted to make it as true to our childhoods as possible — that nostalgic feeling of listening to reggae music in the background and watching TV while you're getting your hair done."

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Nijla Mu'min On Her Stellar Coming-Of-Age Film 'Jinn' (SXSW Interview)

Girlhood, Black girlhood specifically can be examined through a variety of different lens. From locations to characters, girlhood can look drastically different. And yet, when told correctly, these stories can be a tapestry for representation, identification, and understanding. With her debut feature film Jinn, director Nijla Mu’min examines Black girlhood from the perspective of a mother-daughter relationship. Jinn centers around Summer (Zoe Renee), a bold and vivacious high school senior on the cusp of womanhood just as her mother Jade (Luke Cage’s Simone Missick) converts to Islam –effecively shattering Summer’s world as she knows it. Dorian Missick and Kelvin Harrison, Jr. also star in the film. Just before Mu’min won the SXSW Special Jury Recognition for Writing, we sat down to chat about her semi-biographical film, girlhood, and how cultures meld and clash with one another.

Mu’min’s upbringing and background helped her birth Jinn — it was a story that she’d been crafting all of her life. “I grew up in the Bay Area," she explained. "My father is Muslim, and he converted to Islam in the late 1960s in Oakland. When I was born, I was born into that community. My mother had converted to Islam when she married my father. I grew up going to the masjid, being immersed in that culture, and being around so many different Muslims and so many distinct personalities. The masjid that we went to was in this beautiful Victorian building with all these rooms and colors. I always knew that I wanted to tell a story that was centered in that community; in that space.”

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Elvire Emanuelle, Yahya Abdul-Mateen II, Colman Domingo And Director Olivia Newman Discuss 'First Match' (SXSW Interview)

The relationships that Black girls have with their fathers isn’t examined nearly enough. There are stories that center around absentee fathers, and the damage they do to their offspring. However, there are very few films about the heroic roles that Black fathers play in their daughters' lives from adolescence through womanhood. Set in Brooklyn’s notorious Brownsville neighborhood, writer/director Olivia Newman's First Match shines a spotlight on one young girl, Monique (portrayed by Elvire Emanuelle) who joins her high school wrestling team in a desperate attempt to win back the affection of her estranged father Darrel (portrayed by Yahya Abdul-Mateen II). Under the direction of her thoughtful coach (portrayed by Colman Domingo) Mo finds a different type of family. During the film's premiere at SXSW, I chatted with Newman and the cast aboutFirst Match and what the film means to them. Newman’s arresting tale was born out of her the short film she made for her MFA thesis. At the time, she was examining the growing number of girls who were joining all-boys wrestling teams in high school. Her research led her from the picturesque buildings of Columbia University to the gritty streets of Brownsville.

“When I made the short film, I was really focused on just the experience of being a girl participating in a full-contact sport in a coed context," Newman recalled. “I was just looking for the best wrestler to be in the short, and this wrestler Nyasa, that I cast, happened to be from Brownsville. We formed a friendship in making the film, and we stayed in touch over the years. The story for the feature really just evolved out of our friendship and getting to know her and her friends and hearing their stories.”

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Identity And The Glory of Girlhood Stand At The Center Of Nijla Mu'min's 'Jinn' (SXSW Review)

Freedom. It’s a word that epitomizes our teenage years – a time that seems endless and glorious. However, it’s also a period where we often feel confined — boxed in as we rebel against our parents’ rules and traditions while trying to step into our own identities. Writer-director (and Shadow and Act contributor) Nijla Mu'min’s debut feature Jinn paints a picture of a teen we don’t often see in film. Jinn tells the story of a Black girl who wears her freedom and individuality like a coat of armor, while those around her — including her mother, are still trying to grapple with who they are. Summer (portrayed by The Quad’s Zoe Renee) is a carefree high school senior who embraces girlhood full throttle. A dancer with her sights set on securing admission to California Institute of the Arts, Summer spends her days hanging with her homegirls, flirting with anyone who catches her eye, dyeing her lush fro a variety of colors, and chomping down on pepperoni pizza and churros. Her relatively stress-free life is upended when her mother Jade (portrayed by Luke Cage's Simone Missick) decides to convert to Islam.

Though this is mostly Summer’s story, Mu'min also turns her lens on Jade. A prominent meteorologist on a network channel, Jade's life seems to be in order professionally, but her desire for something more profound leads her to Islam. While Summer is fearless — diving headfirst into exploring her sexuality, identity, friendships, and even Islam, Jade is wary and fearful. Missick brings a warmth, cautiousness, and strength to the role, even when Jade berates her daughter for not being who she wants her to be. It was intriguing to watch the relationship between Jade and Summer crackle and fade between friendship and guardianship. The mother-daughter relationship is central here, as we watch two very different women come to terms with who they are and who they are desperate to become. This juxtaposition was one of the most profound aspects Jinn. After all, our relationships with our mothers, though imperfect are often deeply embedded in who we are as Black women.

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South African Filmmaker Nosipho Dumisa On Her Crime Thriller 'Number 37' (SXSW Interview)

We all have a story to tell; the truth is defined merely by our perspective. Paying homage to the master of suspense Alfred Hitchcock, South African filmmaker Nosipho Dumisa dives headfirst into the crime thriller genre with her arresting debut feature, Number 37. A tale of desperation, love, and greed, Number 37 follows Randal (Irshaad Ally) a criminal confined to his apartment after a drug deal leaves him crippled. Terrified and unable to pay back a vicious loan shark named Emmie (Danny Ross), Randal’s sole salvation is his girlfriend Pam (Monique Rockman) and the pair of binoculars she gifts him. Desperate to come up with the money to pay back Emmie, Randal hatches a deadly plan that puts himself, Pam, and everyone else in his Cape Town housing project at risk. Ahead of the film's premiere at SXSW, I chatted with Dumisa about bringing her magnificent story to the big screen.

For Dumisa, Hitchcock's 1954 classic Rear Window and the government housing projects sprinkled across Cape Town sparked the idea of Number 37. "I just knew that this was the perfect area to reimagine one of my favorite films," she explained. “ Randal is not an innocent photographer. Randal is the architect of his own problems, and he’s stuck in a world that has sought to define him by his background. Therefore, he feels locked in and without options, but we always have options."

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