“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.”
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.
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”.
“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
The Return of the Living Dead (1985) Dir. Dan O'Bannon Rotten Tomatoes: 90% IMDb Description:When two bumbling employees at a medical supply warehouse accidentally release a deadly gas into the air, the vapors cause the dead to rise again as zombies. Stars: Clu Gulager, James Karen, Don Calfa