Gathering these recommendations has inspired me to construct a personal canon of films to satiate the Black imagination – I'll be updating the list on Letterboxd: https://boxd.it/CZIP8
This reminds me of a podcast I heard recently where the film critic/screenwriter Emily Yoshida talks at one point about how the old hubbub over the sometimes graphic depiction of queer-female sexuality in "The Handmaiden" (2016) on feminist-grounds actually amounted to a bit of a decontextualization; that graphic sex gets filmed by a director who happens to be male may not necessarily be what makes something "exploitive" in itself, but rather what the "lens" (no pun intended) is through which its made on an intention and behind-the-scenes level. It sounds like a similar thing happens with the critiques you're hearing about the slave narrative as a non-starter. People get stuck conflating content with form. It's a bit like conflating genre and tone. It would be really weird if somebody thought, for instance, that Western flicks were ALL supposed to be campy and un-self-aware glorifications of settler-colonialism, when offbeat and VERY critical stuff like "Meek's Cutoff" (2010) or "Rabbit Proof Fence" (2002) exist and show ya new avenues that the settings usually associated with the genre can explore with new perspectives. The acknowledgement and use of the proverbial sandbox of "how" and "for what reason" and "by whom" artistic choices are made when NOT in a vacuum? That's an endless opportunity for thoughtful art, if you ask me! I liked reading someone's (your) work that thought the same. Bravo! (*by the way, I enjoyed your recommendation list at the end; I think "Saloum"" (2021) is a criminally underseen movie.)
I think there's a tendency to have a top-down approach when it comes to films that perhaps miss the conceptual mark as opposed to bottom up, that is, a man directs a film that has a misogynistic blind-spot and there's a cosmetic dispatch of identity politics that says that this is inevitable. but it is very possible to make films about topics/demographics that aren't your own to great success--and I'd prefer to categorise it as bad filmmaking. The Fits was directed by a white woman, for instance. I think its an excellent rendering of Black girlhood. If it wasn't, Anne Rose Holmer's whiteness would've been the destructive factor, which maybe true, but I'd prefer to see it as she'd not done her job as a filmmaker. You should actually think broadly and deeply about the subjects you're encapsulating, know what you want to convey, and be assured in that.
Exactly! Due-diligence in one’s research before writing — whether about a familiar background or not — is truly the golden ticket. Makes for better filmmaking, not just more verisimilitude. It really is the most and the least you can do. Some critics might still find it lacking, and that’s just fine. Gotta have some conflict sometimes! Such is life!
Out-fucking-standing essay sir. This honestly I think gave me some perspective into myself and why, aside from some very specific examples (Fresh, 1994, Boaz Yakin?! Really, an Israeli American director made that. Jesus. I should probably watch it again, as I think I've only seen it a few times. Most notably, when I was ten years old and it was outside of my scope of total understanding) I'm not a fan of the generic and stereotyped movies you're discussing in this essay, so, thanks for that in an absolutely unironic way. (Hint, it has to do with cultural exposure from a very young age. Thanks STL, you ratchet ass city.) (I've not seen Get Out, but I really liked US... I haven't watched as many films as I'd want lately, as well.) Aside from personal insights gained, yeah, no, as per, you have a really great brain and I always look forward to what you write. Cheers and thanks.
Loved this ! However I think the phenomenon you’re talking about specifically relates to Hollywood. There’s a lot of media out there that portrays black people as complex nuanced characters without sanitatising the reality of being black ( unless like the title suggests you’re speaking specifically of slave films then no worries haha!)
Each word of this piece feels thoughtfully selected and packs a punch. My brain is expanding with the idea of Black possibility and new imaginings of Black film.
I wholeheartedly agree. I’m not a fan of SOLELY depicting slave movies and other “stereotypes”, but Blackness is not a monolith and we need to see the full spectrum of all of it.
Inigo, this piece has perfectly captured feelings about this topic that I’ve pondered on for years. Thank you for writing. I encourage you to read the books of the movie adaptations for American Fiction and The Nickel Boys.
Great article Inigo! I think you’ve articulated for me the reasons I hadn’t really articulated for myself why I can’t watch Black Trauma films. It doesn’t feel like they’ve been made for a black or POC audience. They do need to be made, but I would love more Black Revenge films in the vein of female revenge films, personally.
Changing the subject slightly, I watched the film Boxing Day over Christmas. Whilst it’s not a perfect film, I did enjoy a majority black cast featuring a love triangle between three successful black characters, set in London. But these films are few and far between. So, if it takes making more Black Trauma films, to normalise having an all black cast in a regular rom com - then I guess I’ll take that.
Tbh I didn't care for "American Fiction." I think I may have liked it better pre-COVID, when "Black excellence" media were being pumped out left and right. And then I saw the director's background and it all made sense. I saw a comment on another post about how folks who lament about "Black trauma" usually want aspirational/capitalism repackaged for them. This is what "American Fiction" felt like to me.
Gathering these recommendations has inspired me to construct a personal canon of films to satiate the Black imagination – I'll be updating the list on Letterboxd: https://boxd.it/CZIP8
This reminds me of a podcast I heard recently where the film critic/screenwriter Emily Yoshida talks at one point about how the old hubbub over the sometimes graphic depiction of queer-female sexuality in "The Handmaiden" (2016) on feminist-grounds actually amounted to a bit of a decontextualization; that graphic sex gets filmed by a director who happens to be male may not necessarily be what makes something "exploitive" in itself, but rather what the "lens" (no pun intended) is through which its made on an intention and behind-the-scenes level. It sounds like a similar thing happens with the critiques you're hearing about the slave narrative as a non-starter. People get stuck conflating content with form. It's a bit like conflating genre and tone. It would be really weird if somebody thought, for instance, that Western flicks were ALL supposed to be campy and un-self-aware glorifications of settler-colonialism, when offbeat and VERY critical stuff like "Meek's Cutoff" (2010) or "Rabbit Proof Fence" (2002) exist and show ya new avenues that the settings usually associated with the genre can explore with new perspectives. The acknowledgement and use of the proverbial sandbox of "how" and "for what reason" and "by whom" artistic choices are made when NOT in a vacuum? That's an endless opportunity for thoughtful art, if you ask me! I liked reading someone's (your) work that thought the same. Bravo! (*by the way, I enjoyed your recommendation list at the end; I think "Saloum"" (2021) is a criminally underseen movie.)
I think there's a tendency to have a top-down approach when it comes to films that perhaps miss the conceptual mark as opposed to bottom up, that is, a man directs a film that has a misogynistic blind-spot and there's a cosmetic dispatch of identity politics that says that this is inevitable. but it is very possible to make films about topics/demographics that aren't your own to great success--and I'd prefer to categorise it as bad filmmaking. The Fits was directed by a white woman, for instance. I think its an excellent rendering of Black girlhood. If it wasn't, Anne Rose Holmer's whiteness would've been the destructive factor, which maybe true, but I'd prefer to see it as she'd not done her job as a filmmaker. You should actually think broadly and deeply about the subjects you're encapsulating, know what you want to convey, and be assured in that.
Thank you for your kind words, Noah!!
Exactly! Due-diligence in one’s research before writing — whether about a familiar background or not — is truly the golden ticket. Makes for better filmmaking, not just more verisimilitude. It really is the most and the least you can do. Some critics might still find it lacking, and that’s just fine. Gotta have some conflict sometimes! Such is life!
You’re just different. Your work has a beautiful element of truth and that is something I can appreciate. Well done.
omg thank you so much 🫶🏾
Out-fucking-standing essay sir. This honestly I think gave me some perspective into myself and why, aside from some very specific examples (Fresh, 1994, Boaz Yakin?! Really, an Israeli American director made that. Jesus. I should probably watch it again, as I think I've only seen it a few times. Most notably, when I was ten years old and it was outside of my scope of total understanding) I'm not a fan of the generic and stereotyped movies you're discussing in this essay, so, thanks for that in an absolutely unironic way. (Hint, it has to do with cultural exposure from a very young age. Thanks STL, you ratchet ass city.) (I've not seen Get Out, but I really liked US... I haven't watched as many films as I'd want lately, as well.) Aside from personal insights gained, yeah, no, as per, you have a really great brain and I always look forward to what you write. Cheers and thanks.
Loved this ! However I think the phenomenon you’re talking about specifically relates to Hollywood. There’s a lot of media out there that portrays black people as complex nuanced characters without sanitatising the reality of being black ( unless like the title suggests you’re speaking specifically of slave films then no worries haha!)
Each word of this piece feels thoughtfully selected and packs a punch. My brain is expanding with the idea of Black possibility and new imaginings of Black film.
so kind! thanks for reading xo
Inigo this is so so good. If they compose a book on the new modern cinema this essay should be in it.
The Devil Finds Work by James Baldwin hits the same targets you are going for.
Yours is as refreshing a read.
Brilliant
I’m looking forward to watching the movies you suggested! Thanks for this essay.
I wholeheartedly agree. I’m not a fan of SOLELY depicting slave movies and other “stereotypes”, but Blackness is not a monolith and we need to see the full spectrum of all of it.
Exactly👌🏾
Inigo, this piece has perfectly captured feelings about this topic that I’ve pondered on for years. Thank you for writing. I encourage you to read the books of the movie adaptations for American Fiction and The Nickel Boys.
🫶🏾
Great article Inigo! I think you’ve articulated for me the reasons I hadn’t really articulated for myself why I can’t watch Black Trauma films. It doesn’t feel like they’ve been made for a black or POC audience. They do need to be made, but I would love more Black Revenge films in the vein of female revenge films, personally.
Changing the subject slightly, I watched the film Boxing Day over Christmas. Whilst it’s not a perfect film, I did enjoy a majority black cast featuring a love triangle between three successful black characters, set in London. But these films are few and far between. So, if it takes making more Black Trauma films, to normalise having an all black cast in a regular rom com - then I guess I’ll take that.
I found this so absorbing and profoundly interesting. Off to look up where 'Nickel Boys' is screening now!
Tbh I didn't care for "American Fiction." I think I may have liked it better pre-COVID, when "Black excellence" media were being pumped out left and right. And then I saw the director's background and it all made sense. I saw a comment on another post about how folks who lament about "Black trauma" usually want aspirational/capitalism repackaged for them. This is what "American Fiction" felt like to me.
I can see that, there are definitely points that felt like that to me!
🫶🏾