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In 'As Of Yet' One Black Woman Finds Her Voice In Isolation

So much of what humanity has experienced in the past year has reshaped who we are as a society. In As of Yet, helmed by co-directors Chanel James and Taylor Garron, one Black woman’s pandemic experience comes to life through video diaries, facial expressions, and FaceTime calls. When the film opens, Naomi (Garron) has been isolated in Brooklyn for months. She spends her days having solo dance parties, buying random items on Amazon, cooking elaborate meals, pretending to do puzzles, and touching base with her family and friends.

Continue reading at ESSENCE.

tags: essence, As of Yet, Tribeca Film Festival, Chanel James, Taylor Garron, chocolategirlreviews
categories: Film/TV
Thursday 06.17.21
Posted by Aramide Tinubu
 

Tribeca Film Festival Creates Opportunities For Burgeoning Black Filmmakers

Cinema has returned to New York City full force with the 20th annual Tribeca Film Festival. While movie-watching from home certainly has its advantages, the Tribeca Film Festival’s triumphant return with in-person programming is a turning point for the film community and movie lovers everywhere. 

Founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff the year after the 9/11 terror attacks rocked the city, 20 years later, Tribeca is serving as a place of communion as the city emerges from a year of uncertainty, isolation and confusion. Though the festival is typically held in April, this year it’s running from June 9-June 20 with Juneteenth programming that celebrates and recognizes Black talent in front of and behind the screen with in-person and virtual viewing options. 

Continue reading at ESSENCE.

tags: Essence, Tribeca Film Festival, Queen Initiative
categories: Film/TV
Thursday 06.17.21
Posted by Aramide Tinubu
 

'The Apollo' Solidifies Black Harlem's Past But Leaves Uneasy Questions About Its Future [Tribeca Review]

Located in Harlem, New York, a vibrant neighborhood in Manhattan, the iconic Apollo Theater has stood for nearly 90 years on 125th street as a pillar of Black culture and community and a safe space for Black creatives. In his sweeping documentary, The Apollo, Roger Ross Williams chronicles the history of the Apollo Theater which began when it first opened its doors in 1934. Though the golden era of Harlem is known for the Savoy and the Cotton Club, spaces where legendary entertainers like Duke Ellington and Josephine Baker graced the stage, these venues were not open to Black Americans and certainly not for the Black residents of Harlem to be patrons. In the 1930s that all changed. With the help of talent scout/"Amateur Night" creator Ralph Cooper, the Apollo owner Frank Schiffman would bring Black entertainment and entertainers home to their people.

Using breathtaking archival video from inside of the Apollo and the streets of Harlem across the decades, Williams gives his audience a true sense of the giants that the Apollo introduced to the world. From 12-year old Stevie Wonder blowing on his harmonica in 1962 to Lauryn Hill in the early ‘90s getting booed off the stage for her pitchy vocals, it’s all there. The archives of this place are almost overwhelming. Choosing to place his interview subjects within the famed building as they provide history lessons and historical context also gives Williams’ The Apollo a certain authority.

There are interviews with icons like Patti LaBelle, Apollo historian and tour guide Billy “Mr. Apollo” Mitchell, who has been giving tours there for over fifty years, and other icons like Eva Issac, the "Queen of the Apollo." The Apollo is sprinkled with gems. Williams places his film within the context of Black history in this country while providing anecdotes about the theater itself. The audience hears from folks like Leslie Uggams who performed at the Apollo as a child star and watched Louis Armstrong, Ella Fitzgerald and Dinah Washington from the theater wings. She recalls how affectionate they all were towards her and how they adored Black people.

Continue reading at Shadow and Act.

tags: The Apollo, Tribeca Film Festival, chocolategirlinterviews, Tribeca 2019
categories: Film/TV, Culture
Tuesday 04.30.19
Posted by Aramide Tinubu
 

History Maker: 19-Year Old Director Phillip Youmans Talks the Black Church, 'Burning Cane' and Trusting His Vision [Tribeca Interview]

In 19-year-old Phillip Youmans’ feature film debut, Burning Cane, the filmmaker showcases how individual choices can ricochet off of other people, derailing everyone's lives.

Set in rural Louisiana in the late-‘90s, Burning Cane opens amid the burning season, when the sugar cane is set ablaze so that it’s easier to harvest. Burning Cane is a poetic narrative that follows Helen (Karen Kaia Livers), a concerned mother who is desperately trying to navigate her relationship with her unemployed, alcoholic adult son, Daniel (Dominique McClellan), and her recently widowed pastor, Revered Tillman (Wendell Pierce). Like Daniel, Rev. Tillman is also seeking to find solace in the bottle. Though Helen deeply empathizes with both men, when their actions begin to suffocate her and her grandson, she decides she has to take drastic action.

Burning Cane had its debut during the Tribeca Film Festival, making Youmans the youngest direct to ever have a feature film in the festival. At Tribeca, Shadow And Act sat down to chat with Youmans about writing Burning Cane, bringing it to life and what it means to be a fearless storyteller.

Continue reading at Shadow and Act.

tags: Tribeca Film Festival, Burning Cane, Phillip Youmans, chocolategirlinterviews
categories: Film/TV, Culture
Tuesday 04.30.19
Posted by Aramide Tinubu
 

Slick Woods Reflects On Her Turbulent Past In Her Film Debut ‘Goldie’

At 22, she has already taken the fashion world by storm. Now, Slick Woods is sizzling in her film debut, Goldie, which recently premiered at the Tribeca Film Festival. The stunning model has strutted her stuff in all of her gap-toothed, shaved-head glory on runways for Marc Jacobs and in campaigns for Rihanna’s Fenty Beauty and Savage x Fenty. But for Goldie–helmed by director Sam De Jong, Woods had to get super personal. In the film, the Minneapolis native stars as the titular character, Goldie, an 18-year-old dancer determined to follow her dreams. Unfortunately, an opportunity to star in a music video for rapper Tiny (A$AP Ferg), is undermined when Goldie’s mother, Carol (Marsha Stephanie Blake), is arrested and she’s left to care for her younger sisters Sherrie, 8, and Supreme, 12 (Alanna Renee Tyler-Tompkins and Jazmyn C. Dorsey).

Determined to follow her dreams and keep her sisters out of the foster care system–Goldie uses every trick in her toolbox to keep her sisters safe while plotting to buy a gorgeous canary yellow fur-coat for the video. Though Goldie’s story is fictional and set in the Bronx–the character’s trajectory is eerily similar to Woods’. The Instagirl was homeless for many years after her mother was imprisoned for manslaughter.

Reliving her past wasn’t always easy for Woods, and throughout the 21-day shoot during a blazing hot New York summer in 2017, she often found herself at odds with De Jong. “Me and Sam argued the whole damn time,” she revealed. “But we got very close, and I respect everything about him because he always stood up to me. When I argued with him, he’d be like ‘No.’ Even times when I was crying, he was like ‘I need more! I need more!’ And I was like, ‘Fu*k this!’ Every time I cried, it was real. Goldieresonated with me because of what I’ve been through in my life. I was homeless on the street for twelve years –so being on the street again…it’s like I had PTSD.”

Ahead, this is what Woods had to say about her film debut, why Goldie was like therapy for her, and why acting forces her to step outside of her comfort zone.

Continue reading at STYLECASTER.

Image: Instagram.

tags: STYLECASTER, Slick Woods, Goldie, Tribeca Film Festival, Chocolategirlinterviews, Tribeca 2019
categories: Film/TV
Monday 04.29.19
Posted by Aramide Tinubu
 

'What’s My Name | Muhammad Ali' Is The Legendary Boxer's Eulogy to Himself [Tribeca Review]

“If I didn’t define myself for myself, I would be crunched into other people’s fantasies for me and eaten alive.” --Audre Lorde

During a time when Black people as a whole were being labeled with various stereotypes, or forced into certain boxes, Muhammad Ali was redefining what it meant to be a Black celebrity and athlete. Bold and fearless, he used his platform to speak out against racial injustices and inequality; Ali refused to allow the world to define him.

In his exquisitely done two-part documentary, What’s My Name | Muhammad Ali, acclaimed director Antoine Fuqua chronicles Ali’s life and legacy. Beginning with his early days in the 1950s as an amateur boxer in Louisville, Kentucky to the later years when he became a global citizen and political ambassador while battling Parkinson’s disease, Fuqua paints an extensive portrait of an extraordinary human being.

Composed entirely of archival footage, and void of talking head interviews, input from historians, or people who knew Ali— Fuqua allows the sports legend and civil rights icon to speak entirely for himself—and he’s darn good at it! Pulling from never-before-seen interviews, both audio and video, newspaper clippings, and footage from his Deer Lake Training Camp in Pennsylvania, What’s My Name is Ali's eulogy to himself. Born with the gift of gab, the heavyweight champion never stops talking--not even when he's in the boxing ring.

A brilliant and graceful competitor with panther sharp instincts and reflexes, Fuqua shows all facets of the sports icon's personality. Normally jovial in spirit, Ali is often seen playfully taunting his opponents before and during matches. However, when provoked, he wasn’t afraid to get vicious.

In 1964, at the age of 22, Ali converted to the Nation of Islam shedding his birth name Cassius Clay for Muhammad Ali.  In doing so, Ali effectively made himself even more of a target for the U.S. government, Islamophobia, and racism. Three years later Ali was still fighting to shed his old name. He would use both his fists and his words to get his point across.

Continue reading at Shadow and Act.

tags: Muhammad Ali, What's My Name, HBO, Tribeca Film Festival
categories: Film/TV
Monday 04.29.19
Posted by Aramide Tinubu
 

'13th' Cinematographer Hans Charles On 'Mr. SOUL!' And Being Deliberate About The Black Image

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In the years following Dr. Martin Luther King Jr.'s assassination as the Civil Rights Movement began to fray and crack, the Black Power movement arose, and Ellis Haizlip’s PBS series SOUL! gave black artists, poets, musicians, dancers, creators and activists a platform to tell their stories. SOUL! debuted on September 12, 1968, with Patti LaBelle and the Bluebelles as its first musical guest. The show aired for five years before it was stamped out in the wake of President Richard Nixon’s suppression of the media. But for those five years, what Haizlip gave black people was glorious.

With their new documentary Mr. SOUL!, co-directors Melissa Haizlip and Sam Pollard celebrate Mr. Haizlip, an enigmatic and profound man who dedicated his life to honoring black people. To bring Mr. SOUL! to life, Haizlip and Pollard turned to actor Blair Underwood to narrate the film and 13th cinematographer Hans Charles to create the images. Amid the Tribeca Film Festival, I sat down to chat with Charles about Mr. SOUL!, black images and why he embraces being labeled a black cinematographer.

Charles’ journey into film began with a simple curiosity. "I think I just realized that there was a lot of action happening around the camera," he reflected. "There's just so much energy around it, that it felt like a place where you always would get a chance to work. That felt different from those people who wanted to be writers or directors. There is a certain energy and a certain sense of collaboration that occurs around the camera. That visual observation made an impression on me. I started as a film loader. I interned for Brad on a film called Mo. Then I became a second assistant on Mississippi Damned. Brad was teaching for one semester at Howard , and I was probably the worst cinematography student; I really didn't understand the technical concepts. But I would always be the first student there and the last student to leave. Toward the end of the semester, he asked two of us to be interns on a commercial he was doing. He asked his best student, and he asked me — the most enthusiastic student. I was the one who showed up the next day."

Continue reading at Shadow and Act.

tags: Black Director, chocolategirlinterviews, Cinematography, Hans Charles, Mr- SOUL!, shadow and act, Tribeca Film Festival
categories: Culture, Film/TV
Tuesday 05.01.18
Posted by Aramide Tinubu
 

'Phantom Cowboys' Beautifully Twists and Bends The Coming-Of-Age Genre (Tribeca Review)

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Coming of age documentaries certainly aren't new territory. Recent films like Quest and Raising Bertie are stellar projects that document the transformative years of their subjects as they embark on the journey from their teen years to adulthood. Daniel Patrick Carbone's Phantom Cowboys uses that same model but twists it into something we've never seen before. Following three different young men -- Larry, Nick and Tyler from Pahokee, Florida; Trona, California; and Parkersburg, West Virginia -- Carbone introduces us to these young teens just as they are stepping into themselves. All three are on the cusp of shedding the wistful naivete of childhood, but instead of following them, Carbone breaks away, re-entering their lives seven years later to see where they’ve ended up. Pahokee, Trona and Parkersburg are all very particular places in the United States. Almost frozen in time, except for the glimpses of technology that Carbone hints at throughout the film, there is minimal opportunity for the people in these towns. When we first meet Larry at 13 years old, he spends his days running through sugarcane crops and shooting rabbits with his best friends. At 20, he’s taller, broader and newly released from prison after a 3-year bid for aggravated battery. Despite his circumstances, his spirit is not completely worn down, but his innocence and excitement about the world have long since disappeared.

In Trone, Nick's life plays out very differently. At 17, he lives for football, and his identity is deeply ingrained in his community. In Trone, the chemical plant seems to be the only way of life; Nick's father has worked there for decades. As a teen, Nick seems weary of a certain future at the plant, but at 23 with a 4 a.m. wakeup call, he’s thankful for the steady income and the familiarity the plant provides. In fact, he’s turned down a college football scholarship to remain close to his family, teaching his little brother to fix things and to ride a motorbike.

For Tyler, Parkersburg represents one thing, dirt racing. At 18, he spends his days with his father at a garage, making money to support his daughter. But at night, it's all about racing. When we meet Tyler again at 25, his obsession has begun to pay off. With four little girls and a wife to support, he’s starting to win races while making a name for himself in the racing community. When Tyler's not working or behind the wheel, he’s taking his daughters to and from school and tucking them in at night. He's completely cloaked in adulthood.

Continue reading at Shadow and Act.

tags: chocoaltegirlreviews, documentary film, Phantom Cowboys, Tribeca Film Festival
categories: Culture, Film/TV
Tuesday 05.01.18
Posted by Aramide Tinubu
 

Antonio J. Bell On The Dazzling Tribeca Selection, 'Nigerian Prince,' Navigating Lagos And Unraveling His Roots

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To be black American is to be at once deeply rooted in and wholly disconnected from the continent of Africa. For first generation black Americans whose parents immigrated to the States from places like Nigeria, Ghana and Senegal, it can feel even more disconcerting. There is an understanding of the culture and the language, yet there is still a sense of division-- even among family. In 2017, writer/director Faraday Okoro received a $1 million grant from the inaugural AT&T’s Untold Stories program to produce his film Nigerian Prince. Set on the bustling streets of Lagos, Nigeria, Nigerian Prince follows Eze (portrayed by Antonio J. Bell), a sullen and internet addicted American teen who is shipped off to his parents' homeland after acting out at school. Evocative of The Fresh Prince of Bel-Air in an alternative universe, Eze finds himself adrift and under the care of his fearsome and determined Aunt Grace (Tina Mba). Determined to return home, Eze teams up with his captivating cousin Pius (newcomer Chinaza Uche), who just happens to be one of Lagos’ biggest con-artists.

For Bell, Nigerian Prince was a way to embrace his heritage and to stretch within his craft. “Funny enough, it was just like any other part," Bell said of his feature lead debut. "I auditioned for it. It was actually a busy week; I had like four or five other auditions on the same day. I was like, ‘I'm not getting this one.’ I’m not Nigerian; I’d never been anywhere near Africa. But I read for it, and I heard back like three days later and got a callback. Then I got another, and I spoke to Faraday and everybody, and I was signed onto the contract. It was really crazy."

Though family, connections and the true meaning of home are central themes in this humorous but intense film, scheming remains central. In Nigerian Prince, Prius has his hands in way more than a simple email scam. I asked Bell if he’d heard of the Nigerian prince emails or if he’d ever fallen victim to one. “Well it's funny because the year before I was buying an iPad for my daughter," he said laughing. “And there was a PayPal thing ... I was trying to pay somebody, but there was no PayPal account or website. It was like some kind of knockoff one from Africa. It was weird, nothing added up. When I figured out it wasn't real, I called PayPal. So I was aware of it loosely, but I didn't know what they were called before we did the movie."

Continue reading at Shadow and Act.

tags: Antonio J Bell, AT&T’s Untold Stories, chocolategirlinterviews, Faraday Okoro, Greenleaf, Lagos Nigeria, Nigerian Prince, shadow and act, Tribeca Film Festival
categories: Film/TV
Friday 04.27.18
Posted by Aramide Tinubu
 

In Nia DaCosta's Tessa Thompson-Starrer 'Little Woods,' Women Save Themselves (Tribeca Review)

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Women are constantly underestimated – shoved in corners and preyed upon as if we’re supposed to shrink into ourselves and wait for someone (typically a man) to come save us. And yet, for as long as hardships have existed and sexist rules and regulations have tried to box us in, women have found ways to rebel against societal norms and write our own stories. In her feature film debut, Little Woods, writer/director Nia DaCosta tells the story of two women determined to make a better life for themselves. In the poverty-stricken and depressing town of Little Woods, North Dakota, DaCosta paints the story of two sisters, Ollie (Tessa Thompson) and Deb (Lily James) who are trying to piece together a life for themselves after the death of their mother. Scrappy and determined, Ollie has set up a coffee stand out of her pickup truck, serving hot beverages and sandwiches to the men working in the town's plant. It’s a long way away from her days as a prescription drug dealer -- a job she started out of necessity to help her ailing mother. As the final days of her probation loom, an opportunity for a new start elsewhere keep her determined to stay on the right path despite foreclosure notices on her mother's house and her sister Deb’s frantic cry for help.

Deb isn't faring much better than her sister. A single mother with a deadbeat drunken ex (James Badge Dale), she can’t make a sound decision to save her life. Desperate for her independence and yet hopelessly reliant on her sister for help, Deb is too overwhelmed to think straight, and it’s up to Ollie to save her and her young son.

Little Woods is a bold feminist tale of sisterhood, tenacity and the weariness of being female in a world always trying to harm you. Set against the sparse but immensely beautiful Great Plains, DaCosta paints an empathetic portrait of America's opioid problem. For Ollie, selling drugs becomes a means of survival. However, she suffers in a constant state of anxiety, and she finds herself in the crosshairs of Bill (Luke Kirby), Little Woods' big-time drug dealer whose volatile outbursts leave her on edge. The nation's broken healthcare system is also a major thread in this film. Affordable healthcare and prescriptions are difficult to come by in general. The impoverished folks in Little Woods have it worse. Women, in particular, have no real access to complete healthcare and abortion services because North Dakota is a conservative state -- despite 1973's Roe v. Wade ruling.

Continue reading at Shadow and Act.

tags: Black women film, chocolategirlreviews, Nia DaCosta, shadow and act, Tessa Thompson, Tribeca Film Festival
categories: Film/TV
Wednesday 04.25.18
Posted by Aramide Tinubu
 

Tribeca Review: 'Whitney. "Can I Be Me'''

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Fame is a fickle friend, especially when you are trying to reconcile your public persona with the person you are inside. Nick Broomfield’s somber and devastating documentary on the late-great Whitney Houston follows the pop icon's meteoric rise and the fame, attention, money and addictions that eventually cost her everything. “Whitney. ‘Can I Be Me’” opens with the fateful 911 call from the Beverly Hilton to the LAPD in 2012. Houston had perished in her hotel bathtub after falling asleep with opioids and cocaine in her system. Flashing back in time, “Can I Be Me” takes us back to 1999, behind the scenes of Houston’s last successful world tour. With tons of never before seen footage shot by German filmmaker Rudi Dolezal, we watch the then-36-year-old star, move through European cities night after night. She plays and reenacts scenes from "What's Love Got To Do With It?" with her rambunctious and often lewd husband Bobby Brown, teases her staff, stuffs herself with pizza and chicken wings and hangs with her dear friend Robyn Crawford. And yet, in the quiet moments when she’s getting her makeup touched up or having her hair curled, Whitney Houston looks exhausted.

A sliding timeline that moves all the way back to Houston’s childhood in Newark and East Orange, New Jersey, we can see how much the image of “The Whitney Houston” was molded and handled by her parents, Clive Davis, Arista Records and the industry as a whole. Though she was a church girl, often under the thumb of her mother Cissy Houston, the “I Will Always Love You” singer was no stranger to the edgier side of life. In the film, her brothers, Gary and Michael emphasize that she often partied with them and did drugs recreationally as a teenager. However, the overwhelming spectacle of her life especially after the premiere of “The Bodyguard: and her high-profile marriage to industry bad boy Bobby Brown aided in her dependency on narcotics. Apparently, she overdosed on cocaine while filming “Waiting to Exhale” in 1995.

Continue reading at Shadow and Act.

tags: Tribeca Film Festival, Whitney Can I Be Me, whitney houston
categories: Film/TV
Saturday 04.29.17
Posted by Aramide Tinubu
 

Trailer + Review: Powerful Documentary 'For Ahkeem'

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In the ninth episode of the second season of Underground, we find ourselves in a sliding timeline of sorts. The episode opens with Elizabeth and Cato who now both dwell in Georgia’s boarding house. Cato and the rest of Patty Cannon’s Black men have infiltrated the safe house on her orders, and Cato spends his time memorizing trap doors, and passageways in the home. What he didn’t expect was to happen upon Harriet Tubman herself. Constantly alert and vigilant, Harriet can sense something just isn’t right with Cato, and she warns Georgia to keep a close eye on him.

Returning to Patty Cannon’s home late in the evening, Cato reports back to her about his findings. Though he only knows Harriet by the name Minty, he tries to tell Patty that he thinks he’s found the most notorious runaway of all time. Impatient and enraged, Patty doesn’t believe Cato. Instead, she tells him that he has three days to make his move. Cato chooses to buy more time and get closer to the women in the house by faking a suicide attempt and cutting his wrists.

Meanwhile, Elizabeth’s fear and anger has begun to morph into an untamable rage. It’s further ignited when one of the men who kidnapped her and tied her to a tree walks right into the boarding house, masquerading about getting a room. In response, Elizabeth slaps the hell out of him. Later while tending to Cato’s wounds, the two lament about fear, anger, and pain and Cato encourages Elizabeth to become the monster that she fears the most.

Taking Cato’s advice, Elizabeth sets her kidnapper’s home ablaze, not accounting for his son’s presence. Though she saves the boy and Cato saves her (we think), her actions have made her too dangerous in Georgia’s eyes. She tells Georgia, "We are all complicit as long as there is slavery in this country.” Sadden for her friend but having no other choice especially after seeing a badly hurt and burnt little boy, Georgia tells Elizabeth she must leave the boarding house.

Further South, Harriet has met Rosalee, Noah, and James in Virginia. Sadly, Cora did not make it to freedom; slave catchers murdered her on the way. With many miles still ahead of them on their journey, Noah is struggling with both his faith and the secrets that Rosalee has kept from him. Though she seems apprehensive about Rosalee’s man at first, Harriet levels with him. She asks him how he as a humble enslaved blacksmith knew he could lead the Macon 7 and make it 600 treacherous miles to freedom. That’s faith she says.

And yet, a reassurance in faith will not heal the wounds in Noah and Rosalee’s relationship. Once they make it back to Ohio and Georgia’s safe house, Noah goes in on Rosalee for her selfishness and secrets. He tells her, you had me following you back South blindly without a choice and you put my child in harm's way. You treated me like a slave. He’s not lying.

Finally, at long last, we get to see how Daniel’s story is interwoven with the rest of the characters on Underground. The newly blinded stonecutter can sense that his time on the plantation is up. Using his young daughter as his eyes, we learn that his master is selling off the families of those who were involved with reading and writing. Though his wife wants him to be more docile and complacent out of fear, Daniel is done with all that. Freedom is calling his name; it’s his only way to salvation. Hired out to work one day, he makes it 300 plus miles from St. Louis, Missouri to Ripley, Ohio where he happens across a cobbler’s shop and asks for John Brown.

Continue reading at Shadow and Act.

tags: chocolategirlreviews, For Ahkeem, shadow and act, Tribeca Film Festival
categories: Film/TV
Thursday 04.27.17
Posted by Aramide Tinubu
 

Tribeca Review: ‘Kicks’ Is a Gripping 21st century Tale About Inner City Masculinity, Violence & the Lust for Shiny Things

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rsz_kicks When you're fifteen years old, the desire to fit in can be overwhelming. For some of us, if we're lucky, that carnal need to seek out the opinions of others fades slowly as we move further and further into adulthood. However, in adolescence, that thirst for approval is often tied to brand name material objects. For 15-year-old Brandon in Justin Tipping’s debut film "Kicks" that material object is a pair of black and red Jordan sneakers; the originals.

Told with sweeping and surrealist cinematography that paints the picture of a practically glittering Bay Area, “Kicks” follows the idealistic but scrawny Brandon, who believes that acquiring these retro J’s will enable him to fit in with his friends and peers. Instead, he rocks some shredded (once white) Air Force Ones from his middle school days. (When I was growing up, we called shoes likes these biscuits.) Painfully shy, Brandon exists almost on the outskirts of his friend group. He’s content to sit on the sidelines while his homeboys flirt with girls and run up and down the sun draped basketball court. Fed up with being the underdog and with his lack of shoe game, Brandon scrapes together some money for the once unattainable J's, which he purchases from the back of Crazy Daryl's van. The new kicks are life changing. Brandon suddenly becomes wrapped in a feeling of euphoria, where nothing feels out of reach for him. Unfortunately, his joy is short-lived as he’s soon jumped by a gangster named Flocko and his crew; the fresh sneaks ripped cruelly from his feet.

The duration of the film follows Brandon's desperate quest to recapture not only his sneakers, but also his perceived masculinity. Dragging along his best friends - ladies man Rico and self-proclaimed R&B singer Albert - Brandon travels from the Bay to Oakland dragging his cousins and his fresh-out-of-prison Uncle Marlon (Mahershala Ali) along on his dangerous adventure. As Brandon barrels forward blindly on his journey to be reunited with his Js, he’s confronted with the fact that all actions have consequences; a concept that often seems like an afterthought during our teenage years. Furthermore, the audience learns that Flocko has his own complex motivations for his volatile behavior.

Continue reading at Shadow and Act.

Image: Kicks

tags: boyhood, chocoaltegirlreviews, chocolategirlscreens, inner city, Kicks, masculinity, Tribeca Film Festival
categories: Film/TV
Tuesday 04.19.16
Posted by Aramide Tinubu
 

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