live in cinema

10

“Through contemporary eyes, the static shots and urban milieus of Black Girl seem to solidify Sembène’s filmmaking as an aesthetic neighbor to the emotionally-walloping neorealism of the Italian De Sica. Black Girl may not evoke the immediate adoration of something as universally beloved as De Sica’s Bicycle Thieves, although the latter film’s deft interweaving of personal-is-political social commentary with the rueful, everyday messiness of the lives of the marginalized working class began a storytelling tradition that is gloriously carried on by Sembène. Black Girl has all the skillful stylistic simplicity of your typical piece of neorealism but also packs a sharper bite and it’s electrifying to watch Sembène craft a twisty drama with the piano-chord tautness of a thriller that is nonetheless coated in such a rare and wryly intimate form of humanity.”

Read more: OUSMANE SEMBÈNE’S BLACK GIRL IS ONE OF THE YEAR’S MOST IMPORTANT CINEMATIC EVENTS by Matthew Eng

Autumn ride together 🍂 Where are they going? 🍁

To all those people and families who want to keep the politics out of their holiday gatherings, know this: The moment you forbid your family and friends to bring up topics like #BlackLivesMatter or #NoDAPL because they’re too “political,” you’ve already introduced your politics into your holiday gathering. As both Pericles and George Orwell understood, discouraging and prohibiting the expression of ideas is at once a deeply political act.
—  The Sociological Cinema
4

Barry Jenkins, “Moonlight”, 

Adapted from the Play “In Moonlight Black Boys Look Blue” by Tarell McCraney.

“Take care when you speak to me.
I might listen, I might
draw near as the flame
breathing with the log, breathing
with the tree it has not
forgotten. I might
put my face
next to
your face
in your nameless trouble,
in your trouble
and name”.

“When You Speak to Me” by Tess Gallagher

5

“Peck’s film doesn’t waste time recapitulating Baldwin’s legacy and refuses to turn him into the marble statue that so many heroes become when centralised in fawning nonfiction movies. Instead, Peck and Strauss, through fluid, train-of-thought edits, reawaken Baldwin’s entire mindscape, one brimming with ideas and obliquely attuned to a present that is both changed from and familiar to the past. Wherever his brain wanders, our attention invariably follows. Indeed, I Am Not Your Negro excels precisely because it values Baldwin’s genius above all else. His aching, hard-earned wisdom has wavered in and out of the American consciousness in the decades since his death, but Peck’s film places it at the forefront, which is where it has always and unquestionably belonged.” — Matthew Eng

Read more: James Baldwin reclaims the spotlight in Raoul Peck’s magnificent film essay, I Am Not Your Negro