Best Posts in Forum: Movies and Shorts

MONOCHROME
The buzz of an electric razor, the sound of trainers kicking a wet football in a drab park – London-based filmmaker Seye Isikalu uses the everyday mundane backdrop of dreary landscapes and multi-storey car parks to tell the story of the strained relationship between affection and black males. Black men are denied the chance to be affectionate with each other due to the fierce policing of black masculinity. The four-minute film highlights the misconception that black male intimacy is gay by default and illustrates that there is an essential grey area.

The short ends with the words: “Grey is the wonderland we’ve learned not to trek to because displays of black male affection are strategically met with seeds of suspicion that sprout this myth that if black men are touching it means we’re either fighting or fucking. For us, there is no grey. But this too is distortion … Our emancipation resides in the grey we’re denied.”



PEARL OF AFRICA (2016)
The rights of many LGBT black people around the globe remain under threat. Pearl of Africa is a web series that follows the story of Cleopatra Kambugu, a 27-year-old transgender woman who makes the brave choice to transition despite Uganda’s fierce opposition to trans rights. Watch her risk the threat of incarceration by defiantly challenging the system that condemns her existence all in the hope of becoming who she has always known she was.



#BLACKMENDREAM
‘When did you become a black man?’ asks Shikeith Cathey, whose 45-minute documentary attempts to unpick the nuances of racial identity. Rather than assuming a man is always a black man at his essence, it plays with the idea that there are defining moments in his life where he first realises that he is “other”. The anonymised participants lay bare their sexual experiences, mental health issues and microaggressions that form their complex identities.



DUTCHMAN (1967)
This bizarre tale of a young good looking black man named Clay and Lula, a provocative white woman. It follows an interaction after the two meet on the train which quickly becomes laden with problematic stereotypes, for example, his smart attire is dubbed a “white disguise” by Lula. Importantly it explores the danger black men have faced at the hands of their fetishized masculinity. The film is based on a play by African-American playwright Amiri Baraka.



UNDONE
When Nadine Davis isn’t putting on exhibitions and events as one-half of the BBZ collective – a night celebrating the art and creativity of queer women of colour – she also makes films with her creative partner Elijah Ndoumbe. This particular trailer for the Undone series does not feature any black male characters, rather it is a frank and honest discussion about Nadine’s relationship with her sexuality and appearance. She explains that her decision to wear male clothing, a binder and “one earring instead of two” made her feel more comfortable in her own skin. But, being more masculine in appearance comes with its own adverse reactions from fetishization to black men feeling threatened by her “as if masculinity is all they have”. The short preview is an interesting look at how people’s perceptions can shift depending on how you choose to present yourself. The rest of the series is pending so keep an eye on the site for more to come.



CENTRAL PARK FIVE
Again, rather than exploring black men who belong to a sexual minority, this Ken Burns documentary deals with the pervasive attitudes of heterosexual black men as sexual predators and a danger to civil white society. After a white woman is raped in Central Park in 80s New York five black and brown youths are found guilty – aided in part by very public figures like Donald Trump – in what is now widely regarded as a complete miscarriage of justice. It is an illustration of how the American Criminal Justice system has often been weighted in favour of the notion that black men are more likely to be sexually violent and that their masculinity is something to be feared and punished. You can find the documentary in full here for now



BLACK BOYS DON’T CRY
“The narrow narrative of masculinity must be questioned to leave space for black men to show emotion without being considered less black or less of a man.” IGGYLDN uses spoken word, film and photography to look at how history has forced black males to be strong and without feeling and emotion. The visuals evoke the internal battle that men have with themselves, fighting to suppress their own emotion.



TONGUES UNTIED (1989)
A semi-documentary film directed by Marlon Briggs, Tongues Untied follows the isolating existence of being black and gay in 80s America. Being turned away from gay bars for being a person of colour, and being left beaten and ‘gay bashed’ on the sidewalk near your college – the brutal silence referred to throughout highlights the specificity of the prejudices the black LGBT communities faced. This seminal film ties together homophobic comedy routines by the likes of Eddie Murphy, real-life stories and fictional scenes to illustrate the myriad of issues that often went unnoticed.



PRESSURE (1976)
The first feature-length fiction film directed by a black filmmaker (Horace Ové) in Britain is a depiction of the intergenerational struggle between first gen and second gen West Indian immigrants. From struggles with the police to the unfortunate distance from his heritage, Tony’s story is a portrait of 70s Britain. It questions everything from whether embracing the familiar Britishness he has grown up with makes him too white, whether he should be expected to perform blackness, and his proximity to a black power movement leaves him vulnerable to police brutality to the horror of his ashamed and embarrassed parents. His cultural gaps, educational achievements and pursuit of interracial friendships illustrate how often black males face pressures from outside and inside their communities to conform to certain behaviours.



MXN
Shown over the weekend as a part of gal-dem’s V&A event, the project directed by Almass Badat, and shot by Sannchia Gaston, both of House of Alt, is in continuous development and evolution, as gender is. Badat believes that “The narration of the Black man is brutal and unforgiving. He is heterosexual, strong and the alpha. The restrictions of white-dominated media have created very little space for the Black man to exercise a fluid identity, to the point where if he is not the hyper-masculine or macho, he is not man enough”. As such she speaks to the likes of Kojey Radical to change perceptions about race, gender and manhood.



Films to watch that satisfy your new Moonlight obsession

 

Fresh off of Moonlight’s Best Picture/Supporting Actor/Adapted Screenplay award winning night at the Oscars, Calvin Klein releases new underwear campaign featuring actors Mahershala Ali, Alex Hibbert, Trevante Rhodes, and Ashton Sanders.

The collaboration was foreshadowed at last night’s Academy Awards. Calvin Klein dressed Hibbert, Sanders and Rhodes for the event (Ali wore Zegna).





All of the boys/men are looking great in these artistic black-and-white photos and with the success of the film, we hope to see more work from them all in the future.

 

Five years ago when we started Cypher Avenue, there's no way that Entertainment Weekly would be highlighting a cast that looks like this in a film as black and gay as this. #Progress

 

“Moonlight”

A24




A24 has released more than its fair share of notable films during its brief existence so far. Just this year alone, they’ve released “The Lobster,” “Green Room” and “The Witch, all of which have been widely acclaimed. But their latest film “Moonlight” represents a first for the young studio. Writer/director/producerBarry Jenkins’ upcoming drama marks the company’s first in-studio production alongside Plan B Productions, with Brad Pitt onboard as executive producer. Check out the first trailer below.

READ MORE: New Classics: Barry Jenkins’ ‘Medicine for Melancholy’


Based on the play “In Moonlight Black Boys Look Blue” by Tarell Alvin McCraney, the film tells the life story of a young man named Chiron (Trevante Rhodes) via three defining chapters of his life. Set in the 1980’s Miami during the height of Reagan’s War on Drugs, “Moonlight” follows Chiron as he comes of age, falls in love and discovers his own sexuality, all while learning to embrace his own vision of masculinity as characters float in and out of his life. The ensemble cast includes Naomie Harris (“Spectre”), André Holland (“The Knick”), Mahershala Ali (“The Curious Case of Benjamin Button”), Edson Jean (“War Dogs”), and soul/R&B singer Janelle Monaé in her debut film performance.


READ MORE: ‘Morris from America’ Exclusive Clip: Watch the Film’s Young Star Lay on the Charm

“Moonlight” will have its world premiere at this year’s Toronto International Film Festival. It will also screen at the New York Film Festival a month later. A24 will then release the film in theaters on October 21st.

 

Before I went to go see Star Wars the Force Awakens (episode 7) in theaters; I re-watched episodes 1 through 6 in sequential order. Keep in mind episodes 4 through 6 was released before episodes 1 through 3. Being sensitive to diversity in media, when viewing episode 3 (A New Hope), I noticed a Black man prominently walking in the back ground on Luke Skywalker’s home planet of Tatoonie. This may not seem like a big deal and maybe it isn’t but this film debuted in 1977 and George Lucas (creator and director) had the consideration to make sure a man of color was in the back ground shot…in a science fiction adventure film.




There are science fiction films present day that will barely have splash of a person of color in the back ground. Then when they do have an extra of color on the set, their skin tone is barely darker than beige. Like where were the non-white men in Mad Max: Fury Road? Do Black men not exist in a futuristic post-apocalyptic world? It seemed like there were hundreds of white men in Mad Max but not one Black man.



I was around 1 year old when Star Wars first hit theaters and around 4 years of age when The Empire Strikes Back: Episode 5 (released in 1980) came out. I didn’t actually see the trilogy of films until the mid 80’s on cable. Even though I remember Billy Dee Williams as Lando Calrissian in The Empire Strikes Back, he was a supporting and somewhat untrustworthy character that came on the screen after half way through the film. This was still a feat for a hit Hollywood science fiction film and Billy Dee was the face of Black Hollywood at that time. In 1979, a year before Billy Dee in The Empire Strikes Back, there was Yaphet Kotto staring as Parker, a supporting role in the classic science fiction film Alien. Being realistic, Alien was a science fiction suspense horror film and black people were the “red shirts” extras that accompanied Captain Kirk when he ventured off ship. It was status quo that Black people didn’t survive in horror films. Other examples of this would be Childs (played by Keith David) and Nauls (played by T.K. Carter) in the 1982 science fiction horror classic The Thing.



While acknowledging some of the African American male actors in science fiction adventure films such as Will Smith (Independence Day), Wesley Snipes (Blade, Demolition Man), Michael Jai White (Spawn), Laurence Fishburne (Matrix Trilogy), Don Cheadle (Iron Man), Anthony Mackie (Caption America), Samuel L. Jackson (Nick Fury) and Michael P. Jordon (Chronicle, Fantastic Four); for me something was missing from these characters.



Even though Blade 1 and 2 were pretty good movies, I don’t feel it was due to Wesley Snipes’ acting. No doubt Laurence Fishburne as the wise and powerful Morpheus in the Matrix, was a masterful and well-acted character in the trilogy; nonetheless he was not the star of the film. While I think Will Smith is a great actor; his character leads in I-Robot, Hancock, Men in Black, and After Earth in my opinion were not his best performances. I just don’t feel black men have been able to wear the spot light in science fiction films whether it be due to Hollywood (studios execs, directors, script writers, etc.), their on screen time (regulated to supporting roles) or simply not commanding the roles given.

Circling back to Star Wars; Mace Windu (Samuel L. Jackson) was a key figure in episodes 2 and 3 as a Master Jedi and apart of the Jedi Council but I think the star, Sam L. Jackson overshadowed his on screen character. However; one of the most iconic villains in film history (Darth Vader) is voiced by African American actor James Earl Jones. The treacherous Clones (who help destroy almost all the Jedi) are clones of Jango Fett played by Temuera Morrison (who is of Pacific Islander decent). The diversity within the Star Wars universe also extends to its novels, comics and animated media; which brings me to the current Star Wars film, The Force Awakens.

Not to sound melodramatic but I feel like new ground has been broken with the significance of Finn. Finn is a former Storm Trooper who plays an integral role in The Force Awakens; not only that, he is one of the two main heroes of the film. Finn is not in a supporting role…he is in a lead role which means he garners much screen time in the film. Finn is played by John Boyega who is an African European man born of Nigerian parents. Boyega doesn’t just play within the role, he personifies the character. His excellent acting performance is not only believable but is also easily the best of the cast. Don’t get me wrong, the leading lady Ray (Daisy Ridley) is great along with new villain Kylo Ren (Adam Driver) but with Finn…you just have a feeling that there is a lot more at stake. His heroics seem more amazing and brave because he is so convincing in his character’s “I’m just a regular ordinary guy in an extraordinary situation”. Boyega is now the new star and a handsome face of a new trilogy that is expanding upon the biggest film franchise in history.



Black Americans sometimes forget that racism against people of color (brown/dark skin peoples) is not only prevalent in the US but also in Canada, Latin America, Europe, Russia, China, Japan and Australia. Media plays a huge role in this racism, bigotry and discrimination. This new Star Wars film even faced racist backlash after its initial trailer was released and many proclaimed “politically correct diversity” was being forced upon the audience and altering the purity of the film franchise.

Due to the international magnitude of this film and the franchise, the character of Finn is monumental. He is a fresh new on screen leading hero who is brave, intelligent, compassionate, and selfless in his quest to save those he cares about all the while being front and center for the international audiences to see. I can only imagine the positive impact his character will have on little Black boys and girls around world. I must also mention The Force Awakens is a virtual melting pot of ethnicity, which is spectacular!

I am beyond annoyed and irritated with Hollywood having people of color subjugated while whitewashing historical stories, in addition to regurgitating white savior film tropes like Dances with Wolves, The Last Samurai, The Blind Side and Avatar. Hollywood continues to use the same silly excuses that anything besides “white” will not sells big budget blockbuster movies. I doubt the supremacy within this logic will change in Hollywood anytime soon; nonetheless courageous directors like J.J. Abrams are obviously attempting to move things forward.

For so long have I looked at science fiction television shows and movies and thought “Do these writers and directors envision a future where people of color don’t exist?" Is this their subconscious vision of a futuristic pure utopia?”

Is The Force Awakens a turning point? I hope the power of John Boyega as Finn in The Force Awakens, John Colter as Luke Cage (streaming on Netflix in 2016) and Chadwick Boseman starring as the Black Panther (in theaters 2018) will begin to chip away at the bigotry and prejudices of Hollywood.









Read the whole post here.

 

If pictures like this makes people uncomfortable, I would hate for them to journey outside the U.S, where stuff like this is normal. I remember the male teachers at my school in China would be pretty much wrapped around each other. Two dudes can be intimate without being gay.

 

While Undertow pretty much tells a very familiar plot it adds another element to give it an original feel. Also, on Netflix. You can probably tell I watch foreign films lol

 

Anything from the Twilight Series

 

*SPOILER ALERT* Let's talk about how predictably both black characters in "Bird Box" get killed sacrificing themselves.

 

Holup, I just saw his viral video...yeah, he's def no more than 19 years old:

 

I'm not at all surprised by this reaction, here's why.
1: Most heterosexual black people have no experience or context with seeing male intimacy so it's totally alien and off putting to them. So they can only cope by laughter because it defies their expectations. Sorta like 12 year olds in a sex ed class.

2: Most heterosexual black people have ugly attitudes regarding homosexual men. So it never even occurs to them to view the character of Chiron with any type of empathy or humanity. Even in the first act when he is a little boy they can't bring themselves to view this black boy who is hurting with any compassion. Most if not all of us been there. Some of us were even treated this way by our own families which is why it seems Moonlight strikes such a raw nerve with a lot of gay bruthas that have seen it.

My theater experience was different. I've seen it twice both times you could've heard a pin drop in the theater. The first time I saw it the audience was 90% white 10% black the second time it was around 50, 50 black and white. Judging by the reactions both times the audience was riveted. There wasn't even any snickers or negative reactions to the beach scene between teenage Kevin and Chiron.

 

I'm like WTF does this have to do with anything? Who cares who they fuking? So because they closeted therefore their points are invalid? What a hag.

 

The Last Match (2013)

Two teenage men fall in love, surrounded by the poverty and the marginalization of their country, they are forced to change their lives and take big risks.

 

[In My Woke Black-Twitter Voice]: Racism!!! They couldn't cast a Middle Eastern or Arab man to play The Genie?! Hollywood is always trying to White Wash other people's culture, in this case it's a Black Wash!

The story of Aladdin is based on Middle Eastern folklore, not Western Philadelphia folklore! #BoycottDisney #BoycottBlackWashedAladdin

 

You know what I have always wondered, why does mostly every SGL movie focus on coming of age, young people? It would be great to see some SGL movies about grown ass men. (just thinking out loud)

 

Dope. I've always felt the lack of visibility was the biggest issue when it came to the one dimensional perception of gay men. Coming from an artistic environment (8/10 gays decide they're supposed to be performers once they realize they're gay..smh) I personally know many guys who were 'gay coons' simply because they were imitating what they thought 'gay' was supposed to be, and you wouldn't know that seeing them today.

I wonder where Derek J got the idea from...

 

Sigh..the clip promo & its visuals seem very compelling, but im personally just sick of this same foundational narrative in the approach of black male same sexuality. Denial & suppression are powerful in human beings (which lead to these type happenings & stories) but there are so many unexplored avenues that have yet to be fleshed out and displayed. Like an established, non-confused relationship between two very masculine blk male types. How do they interact socially? Intimately? Establish a domestic life & family? How would family and females play into that dynamic? Maybe one of them becomes super famous..how would that play out in such a relationship? #takemehigher

 

Congrats to them young brothas! but sheesh he's only 19 years old and look like a grown handsome man.

 

...and we all know who the gays are looking at.

 

It’s pretty good directing when a story can be told with little words but more so with body language. Goldstar not only accomplishes this but also presents us with two Black non-heterosexual masculine leaning men. One even has a regular body (yeah his booty is looking plump in them blue shorts but still). From the brief dialogue it seems Craig went ghost in attempts to escape his sexuality. Unfortunately once again for some reason stories that feature Black men can’t escape the DL trope. Nonetheless, Goldstar is a good super-short film with decent cinematography and audio which is something most Black gay short films / web series struggle to accomplish.



Written and Directed by: Igor Yankilevich
Starring: Vonzell Carter, Renell Michael White
Cinematographer: Kay Madsen
Editor: Carl Vasile

 

Ignore the bad dubbing and sub par acting at times. I think CA would be proud that there were masculine gay characters even in the 80s.

 

I remember growing up in Nigeria when we first got a computer. I would sneak to use it besides my parents room, to look at naked men. I would take my blanket with me, use it to cover the computer screen so my parents don't see the glare, from under their bedroom door. Put my head under the blanket, type 'hot men' or 'hot naked men' or 'hot men pictures' into Altavista and stare drooling at the pictures. I never knew the word 'Gay' that time so it was all 'hot men' to me...lol. I remember finding drawings like these and go 'Wow, these guys are hot'. Never knowing there was a whole story behind the drawings, which now I do, and the man who did them. Now there is a film about it and THANK GOD it isn't produced by Hollywood!

Spoiler

 

___________________________________________________________________________________________________________
In addition to this spoiler free review of Moonlight, I will also post a separate essay detailing my reflections about the film along with my assessments of a couple of mainstream reviews, some of the language used in those reviews and discuss some social media musings. I feel it’s vital that I provide thoughts that can exist outside of those echo chambers…because yes this film is that important.
___________________________________________________________________________________________________________

Moonlight is based on Tarell Alvin McCraney’s story Moonlight Makes Black Boys Look Blue. The film follows Chiron through multiple stages throughout his journey to adulthood within Liberty City, Miami. The artistic value of Moonlight excellently shines due to the skills of director Barry Jenkins (Medicine for Melancholy). The cinematography by James Laxton is equally impressive. The score drives the mood and tone of the film (especially in the third act) which was composed and supervised by Nicholas Britell.

The film is told in three acts. Act I. Little, Act II. Chiron, and Act III. Black.

Chiron is successfully played by three actors corresponding to the different ages of the characters in the those acts; Alex Hibbert (I. Little), Ashton Sanders (II. Chiron) and Trevante Rhodes (III. Black).

The other supporting actors during the three acts are Chiron’s drug dealing father figure Juan (Mahershala Ali). Juan’s girlfriend Theresa (Janelle Monáe), Chiron’s mother, Paula (Naomie Harris) and his “friend” and crush interest throughout the three acts, Kevin (I. Jaden Piner, II. Jharrel Jerome, II. André Holland).

In act I. Little (named because he is small stature), we’re introduced to Chiron being a shy vulnerable bullied child. As he runs and hides from bullies who hurl taunts of “faggot”, Juan comes to his aid while the tight mouthed Little is unsure of Juan’s intentions. Juan’s home becomes a safe place for Little to find reprieve. Juan’s girlfriend Theresa is presented as a much needed surrogate mother figure for Little due to his spiraling relationship with his own mother due to her increasing addictions.

The fatherless Little is reluctant to open up to Juan but after gaining his trust, Juan becomes a nurturer and caring male figure.

One of the many cinematic high lights of the film is when Juan takes Little to the beach. Via slight split horizontal screen, we witness Juan showing Chiron how to float in the water. The camera is right below the water’s surface while Juan holds Little during his attempts to relax and float. We see the transition from Little’s uneasiness to him letting his guard down. Little begins to enjoy himself and be a kid. In this moment, he is carefree.



In act two we now see Chiron as a tall lanky teenager. Not much has changed with Chiron. He still has a very dysfunctional relationship with his now crack-cocaine addicted mother. Theresa’s (no longer Juan’s) house is still a safe place, even though Chiron doesn’t want to impose. Chiron still has a defeatist appearance of a shy introverted boy. He doesn’t hold his head up. His shoulders look wilted and most of all his face (primarily his mouth and lips) are clasp tight like a steal trap. His voice is muted which contributes to his preservation.

What has changed is the ramped-up torment from his neighborhood bullies. Because they are now teenagers, the testosterone flood gates have opened and so have their aggressions. Act two is clearly the stand out of the three acts. Actor Ashton Sanders as Chiron seems like the definitive out of the three. We see and feel the vulnerability, the seeking of something meaningful and the torment of a sometimes homeless Chiron. In addition to Theresa, his only other solace is his childhood associate Kevin (played by another acting stand out, Jharrel Jerome) who also took a nurturing approach to Chiron in the first act. Kevin is not only sexually active, he’s confident, more popular and comes off as if he can blend or fit in with any of the social circles in high school. Kevin plays an integral part in Chiron’s life, forcing an unforeseen turn that ends up transforming Chiron.

In act three we see Chiron, who now goes by Black (nickname given to him by Kevin). Black may be in his late 20’s or early 30’s. Black has now morph into a resemblance of Juan. He sells drugs (trappin’) and is physically muscular in stature and build. Even though I feel the third act is the weakest out of the three, that doesn’t mean it’s still not as captivating and entertaining.



The crux of the third act is “the diner scene”. The verbal and non-verbal cues between Black and Kevin are a joy to watch but there is still much pain there between the intimacies. Just as with the previous two acts; Black is still introverted regardless if his physical presence demands attention. He is now an extremely guarded man in a sexual identity crisis. This actually creates some tension and pressure between Black and Kevin.

One of the problems I had with the film is that you really can’t pin point Chiron’s age during the three acts. It’s really not that important during the first two acts but during the third, I feel it becomes sort of a hindrance.

In the first act Little appears to be around 8 to 10 years of age; still in elementary school but maybe on the cusp of middle school. In act two, we know Chiron is a teenager, most likely a sophomore in high school, around 15-16 years old. In act three, I feel the viewer really can’t tell how old Black, is. This time gap and Black’s current questionable age makes you feel like you have missed out on a large chuck of relevant story that is not as simple to overlook with the clues given. Personally I couldn’t tell if Black (and Kevin) are in their late 20’s or 30’s. Kevin looks older than Black in the third act and its possible he may have been an upper class-men (during high school) in the second act, meaning he’s always been older.

Again, this made me feel like I don’t really know anything about the more ‘current’ Chiron a.k.a. Black. In the words of Kevin, “Who is you Chiron?” Due to these lapses in time, it forces the viewer to think and draw certain assumptions or conclusion to fill in the gaps between the acts of the film that may not be correct.

Many reviews have called this film a “masterpiece”. Artistically speaking, the film does look phenomenal. With it's few falters, I did feel after the third act a sense of incompletion. I felt this tale could have possibly been better told in flash-back form. Maybe then I would have felt I knew more about the present day Chiron (Black). Or maybe this would have meant I wouldn’t have known more about Little or teenage Chiron, I don’t know but I do feel something is missing in the film’s totality.

None of this however needs to detract from importance of this film and why it’s extremely significant to the psychology and observation of Black males. This film provides feelings and emotions that is not readily seen or heard from many troubled black boys. There are plenty of depictions on the big and small screen showing bullying (which is a common theme) but the specificity that is Moonlight, exists on its own.

Moonlight always has strife and conflict under the surface which is at times accentuated with frantic compelling cinematography.

I liked how much of the story is told without using words but with body language and facial expressions. Again a hat tip to director Barry Jenkins. I also like how at times the color palette of blues and purples that is reflected on the film poster and stated by Juan’s words, “in moonlight black boys look blue”, is seen at points throughout the film.

With all its stellar reviews and accolades, make no mistake this is a Black – coming of age – male – sexual questioning – story. All of the actors (no really…every last one of them; even the childhood and teenage bullies like actor Patrick Decile) really did do an outstanding job, with the stand outs for me being Ashton Sanders and Naomie Harris.

I want to say this is an equivalent to a more coming of age gritty Brokeback Mountain…but a part of me can’t because this film is really is unique. There really isn’t any other mainstream widely released film to compare this to.

Nonetheless, the themes are universal; looking for meaningful connections, understanding and love. Regardless of ideologies, ethnicities, gender or sexuality this is something we all crave at points in our lives.

This is more than just an important film; it’s well overdue but still right on time. Make no mistakes, even with its few shortcomings, this poetic film really is a must see and possibly an instant classic.







Read the whole post here.

 

Stop what you are doing and go watch this documentary. Is it extremely woke and powerful. I just hosted a screening of it with American and French students and it was tough to see how our American students watch it in total despair while the French students routinely talked about "so much for the land of the Free."

 

Critically acclaimed director Barry Jenkins (Medicine for Melancholy) teases us with his new coming-of-age LGBT film “Moonlight,” releasing on October 21, 2016. Produced by A24 and Brad Pitt’s production company Plan B Entertainment, the film stars Trevante Rhodes (Gang Related), Naomie Harris (28 Days Later, Skyfall, Spectre), Andre Holland (Selma, The Knick), Janelle Monae (Recording Artist) and Mahershala Ali (House of Cards, The Hunger Games series).

The film is based on the play “In Moonlight Black Boys Look Blue” by Tarell Alvin McCraney.



Synopsis:

Based on the play “In Moonlight Black Boys Look Blue” by Tarell McCraney. Moonlight tells the story of Chiron, a young man who comes of age during “War on Drugs” era Miami. Structured in three different time periods – the most pivotal moments of Chiron’s fraught quarter-life, battling a deteriorating home life and his dawning sexuality – the film aims for a radical depiction of modern masculinity.
​

SCREENSHOTS:​

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In Birth of a Nation, Nate Parker plays Nat Turner, a Virginia slave who led a rebellion of slaves and free blacks in 1831. The film swept Sundance and is already generating Oscar buzz.

On Friday, Parker tweeted out the upcoming film's poster—a powerful image of himself as Turner, with an American flag noose around his neck, tears in his eyes.

 

FEATURE: Get a first glimpse of Taraji P. Henson, Janelle Monáe and Octavia Spencer in Fox 2000’s NASA Drama “Hidden Figures”

by Eye Candy

on Wednesday


Official initial stills for Taraji P. Henson, Janelle Monáe, and Octavia Spencer’s NASA drama, 'Hidden Figures' were recently released by the New York Times. The Fox 2000 film centers around three black female mathematicians who were involved in NASA’s Friendship 7 mission—an endeavor that resulted in astronaut John Glenn becoming the first American to orbit Earth in 1962—including Katherine Johnson, played by Henson, who calculated the trajectory for Apollo 11's moon landing.

'Hidden Figures' is slated for release in January 2017.

By Erin White*, AFROPUNK contributor




Credit: Hopper Stone/20th Century Fox

 

I think several of you have seen this film. The centers around a "nerd" named Malcom a senior applying to be accepted into one of the several prestigious universities in our country. He is also dealing with struggles of growing up in a rough neighborhood in Los Angeles. If you have not seen this BRILLIANT film-PLEASE check it out. I first heard of it on NETFLIX and watched it a few months ago. Love it. I want to post the dance sequence at the end of the movie. It's about 2:15 long but definitely worth watching-especially those that grew up in the 80' and 90's. We were referred to as Gen-X.

The dance sequence is set to the music of "The Humpty Dance" by Digital Underground


I did the dances at 0:21, 0:27-30, 0:35-36, 2:05. This movie drummed some memories of my summers at the Boys and Girls club. I also begin middle school and started a whole new world.

Enjoy!

 

Celebrities I see in these classic super hero roles.