Sooooo… I posted allllllll these glorious pictures of my trip to @voodoodoughnut , but I never posted pictures of the doughnuts I got! Presenting - the bacon maple bar doughnut & the Memphis mafia doughnut (<- banana fritter topped with peanut butter, chocolate, peanuts, & chocolate chips!)
Literally the best doughnuts I’ve ever eaten in my life! 🍩🍩🍩
Cricket’s library has been getting a little out of control lately, the books are spilling out over the chair and onto the floor, I think it may be time for us to spend a morning organizing it. I’ve always been drawn to her love of books, and I am so glad that I was able to build her this library. I hope that no matter where we end up, I will grow old watching Cricket nestled in her favorite chair, lost in her books and reading away. → Peter Schweitzer
Offering up the chance for Portland’s predominantly white cinematic community to get a taste of black cinema history, this festival is different from similar ones in other cities: It’s a ton of fun. But it doesn’t lose its punch.
Kicking off with Sidney Poitier’s 1972 Western starring Harry Belafonte,Buck and the Preacher, the two-week whirlwind of a festival has everything. That includes blaxploitation legend Fred Williamson at a screening of the seminal Black Caesar, and the long-lost Santa Fe Satan, a rock opera starring the late Richie Havens and based on Othello.
There’s the requisite high-art documentary, about ballerina Misty Copeland; Re-Run Theater’s Rap City, a retrospective on hip-hop; and the surreal prison-boxing classic Penitentary. One thing you won’t see is an ounce of pretentiousness.
That’s intentional, according to founding organizer David Walker. A formerWillamette Week movies editor, he gave up the reins to the fest last year to focus his attention on another traditionally whitewashed medium: comic books.
Walker, an expert on black cinema (particularly blaxploitation), wants to stoke conversation about black film without soapboxing.
“This is Portland, Oregon. This is one of those cities where Straight Outta Compton did really well, but it did really well with white audiences,” says Walker.
“Trying to get more obscure art films, it’s like—who are we trying to sell them to? Who’s going to come to this? That’s one of the reasons we’re trying to make this as fun as possible.”
The Black Film Festival is poised to use extremely entertaining films as a syllabus to get folks interested. Take, for example, the documentary Spirits of Rebellion, a film that focuses on the origins of the “L.A. Rebellion,” when UCLA launched an initiative to foster young black voices. In an era when independent film was on the rise but minorities were still left in the dark, the movement launched such auteurs as Charles Burnett, Julie Dash, Ben Caldwell and Jamaa Fanaka—the filmmaker behind Penitentiary. The film is a history lesson disguised as a compelling narrative, loaded with archival clips of adventurous, often bizarro, art that emerged from the movement.
“A lot of it is a jumping-off point for things we can talk about,” says Walker. “Nobody talks about [the L.A. Rebellion] the way they talk about the Harlem Renaissance, but it was crucial in terms of how the black experience was depicted in cinema.”
SEE IT:The Portland Black Film Festival is at the Hollywood Theatre, 4122 NE Sandy Blvd., hollywoodtheatre.org. Feb. 10-27. $8.