All Articles Tagged "black film"
Maori Karmael Holmes, Founder Of The BlackStar Film Festival, Explains Why We Should Support Black Filmmaking
Maori Karmael Holmes says that when she conceived the idea of the BlackStar Film Festival, she wasn’t thinking about black films, but rather, showcasing the work of black filmmakers.
“I’m not sure if I believe in a separate land of black film,” she said, noting how Hollywood tends to define “black films” as just movies having black people in them or even working on them.
“There is just film, and there are makers, who represent different backgrounds. And their stories are often marginalized because the people who tell them are often marginalized. So I am doing this festival because I want everyone to have access to these filmmakers just like we have access to the mainstream media.”
And access is a huge deal, particularly for black filmmakers. During her (and her committee of other festival organizers’) own search for films by black filmmakers to showcase in the festival, Holmes said that she was never short on productions which fit the bill. However, what does come as a surprise is how many films have not even been shown in Philadelphia, which is the fifth largest city in the country.
More depressing is thinking about how many of these films will likely never have an opportunity to be seen or appreciated.
But now in its third year, the BlackStar Film Festival, which will run from July 31 to August 3 in Philadelphia, will host more than 40 feature and short films by black filmmakers hailing from four different continents. The theme for this year’s festival is “Music is The Weapon,” and will highlight the “intersections of the two creative industries.” Documentaries featured include Time is Illmatic, which is about the making of Nas’ 1994 classic debut album, Illmatic, and Til Infinity: Souls of Mischief, which highlights the 20th anniversary of the critically acclaimed Souls of Mischief album, 93 ’til Infinity.
However, Holmes says that the festival’s main message has always been to support black creatives telling a wide range of stories. Diverse stories like the experimental documentary Dreams are Colder than Death, which is directed by Arthur Jafa and revolves around the philosophical questions of what it means to be Black in America today. And there is They Die by Dawn, directed by Jeymes Samuel and stars Erykah Badu, Nate Parker, Michael K. Williams, Rosario Dawson and many other notable black actors. The film tells the story of a showdown between real life black cowboys and outlaws.
There are also films, which grapple with identities outside of stereotypical blackness like the documentary film Little White Lie, which shares the story of Lacey Schwartz’s upbringing in a typical middle-class Jewish family, harboring a secret about her biological father (here’s a hint: he’s black). And then there is Black and Cuba, another documentary film by Robin Hayes, which follows three street-smart Ivy League students as they run off to Cuba in search of revolution.
There’s also the tale of two Nigerian sisters finding love and trying to survive the Biafran War in Half of a Yellow Sun, which is directed by Biyi Bandele and based off the book by Chimamanda Ngozi Adichie. Despite this film receiving critical praise for its acting work (specifically Thandie Newton and Chiwetel Ejiofor) and screening at film festivals internationally (the film’s original release date was May 16, 2014), this will be the first time audiences in Philadelphia will have a chance to see it on the big screen before it’s released on DVD.
As Holmes notes, it is those kind of opportunities for support and exposure, which she hopes the BlackStar Film Festival will create for both audiences and filmmakers.
“Independent filmmaking has definitely made the filmmaking process more accessible for more people. But that doesn’t mean the distribution has expanded that much. In some ways, there is so much in the market place and people don’t know where to get it. So the festival for us is a way to provide a targeted platform. You know you can come to the festival and you trust our vision. You can definitely see these films in this place and on the big screen,” she says.
Holmes hopes that in addition to supporting black films, and more specifically black filmmakers, people will come and support talented artists in general. And by supporting these projects, Holmes says that we are bypassing the tastemakers and creative powers, who are charged with green-lighting projects but don’t always find stories told from marginalized groups to be relevant.
“There are certain stereotypes and tropes that get play. And if you don’t fit into those, then the gatekeepers will say, ‘I’m not interested,’ rather than seeing that there is incredible diversity in everyone’s story. And that is what I feel like we are trying to do, is to share that diversity because it doesn’t always make it in the mainstream.”
BlackStar Film Festival screenings will take place at various locations in Philadelphia, and the full schedule of events is available here. Passes available until July 30th. For more information or to purchase tickets, please visit: blackstarfest.org
Despite the numerous successful black films as of late, it is still hard for black productions to get greenlit in Hollywood, Taye Diggs said in a recent interview with the Associated Press.
According to The Best Man Holiday star, major film studios hold black film projects to an unfair set of standards. Diggs charges that studios will not proceed with black-oriented film productions unless box office numbers are favorable for other similar productions. Other films are not held up to this standard, and it’s particularly unfair to tie one black film to another when they aren’t similar.
Take Diggs’ track record, for example. Guardian Liberty Voice notes the actor was in the 1999 hit The Best Man and the 2013 sequel, The Best Man Holiday, which made about $70 million at the box office and should’ve made the decision to run with another Best Man movie an easy one. This was not the case. Instead of looking at box-office results from the second installment, film studios are comparing it to films in theaters now that are totally unrelated, such as Think Like A Man Too, before agreeing to make a third Best Man installment. The only connection between films like Think Like A Man Too and the Best Man films is that they star black actors.
Diggs, who is now starring in the new TNT series Murder In The First (he talked about that show with Hoda and Kathie Lee on Monday), says that film studios find black films too risky, even though they have proven success.
Logically, black films should be judged on their own, individual merit. But they have also shown they are revenue generating. There were 48 “black films” released theatrically in 2013 (48 out of 669 total films), according to calculations by Indie Wire. The top grossing black film domestically was Lee Daniels’ The Butler at $116 million. In fact, it was the only black film to gross over $100 million last year. “And total box office (domestic) for all 48 black films is around $670 million, or about 6.2 percent of the total 2013 box office for all films ($10.8 billion),” reports Indie Wire.
By now we know you’ve heard about the new Whitney Houston movie in the works on Lifetime and we’re sure, like us, you’re wracking your brain on who could play our beloved Whitney. Actresses and singers such as Rihanna, Tika Sumpter and even Paul Patton have been thrown into the mix of possible Whitneys! However, it isn’t just Whitney that needs to be cast, but also Bobby! Check out a list of actors who might could maybe play both — emphasis on might and maybe.
‘Best Man Holiday’ Almost Didn’t Get Funding! Find Out Why Black Films Have Difficulty Getting Financed
With all the buzz and praise surrounding Best Man Holiday, can you believe the film barely made it to the silver screen? Investors were hesitant about funding the all-black cast movie. They labeled it too “depressing” and too much of a departure from its 15-year-old sequel, Florida Courier reports.
Malcolm D. Lee, the writer-director behind the box office hit, had to resort to a lot of persuasion to convince financiers to back the sequel. It was only after a table-read, a run-through of the script with the cast, that investors relented and supported Best Man Holiday.
“I remember one of the executives saying: ‘Listening to Terrence Howard deliver dialogue live, out loud, can really turn people around,’” Lee said.
He adds, however, that if it weren’t for wave of Black films in recent years, Best Man Holiday might not have existed. Lee referred to the 2008 to 2011 time slot as the “Black Movie” desert — a three-year dry spell for actors of color. But 2013, in his eyes, couldn’t have been a more convenient time to pitch the sequel.
A few years back, Lee says, “I’ve had many, many people declare that Black movies are dead. Except for Tyler Perry movies.” Now, he says, “We’re seeing a gaggle of ‘em.”
Lately, as we’ve seen a myriad of triumphant films featuring a predominant Black cast (such as Fruitvale Station and Think Like a Man), Lee alludes that he’s profited from their success by scoring funding from hesitant investors. But film flops such as Just Wright, Soul Men, and Miracle at St. Anna’s, FLCourier adds, have caused investor’s to avert their eyes away from African-American casts in the film industry.
“Both hits and misses [from all-black cast films] are analyzed unduly, because there aren’t enough of them,” it says.
Despite the boom in Black film, like Jumping the Broom grossing $37 million on a $6.6 million budget and Think Like a Man reeling in $96 million on a $12 million budget, Hollywood executives are still reluctant to put their money on all-black cast movies. They’re more at ease with tent poles — movies, that without a doubt, are expected to “hold up” and bring in the dough.
Will Packer, the film director behind the upcoming Think Like a Man Too, using a baseball analogy, says the film business is fueled by “grand slams, not singles and doubles.” He adds that Hollywood execs neglect to consider that America is a diverse marketplace.
“You can’t effectively run a full-service Hollywood studio right now without having content that appeals to that diversity,” Packer explains.
“Look at the numbers for “Think Like a Man.” Consider the results for “Lee Daniels’ The Butler,” which cost around $30 million to make and has grossed around $140 million. The audience is there,” Florida Courier says.
Fortunately, as Lee says we’re out of the “Black movie desert” and Packer predicts that if all-black cast films continue to produce quality films such as The Butler and 12 Years a Slave, the black film industry will be bursting with support.
Well, it appears that all of that heavy promoting has certainly paid off. The sequel to 1999 blockbuster The Best Man, Best Man Holiday, scored big at the box office this weekend! According to Box Office Mojo, the Malcolm D. Lee-directed flick earned $30 million at the box office during its opening weekend, which is great compared to the $17 million spent producing the movie.
The highly anticipated sequel, which was debuted 14 years after the original film’s release, came in at number two in the weekend box office, coming in second to Thor: The Dark World. The reviews are in and critics have great things to say.
“‘The Best Man Holiday’ has the potential to become a staple of Christmastime movie watching in the ‘hood.” – Odie Henderson (Rogerebert.com)
“Be ready to reach for a tissue, say ‘amen’ and sigh more than a few times, for the film has all the chaos and clutter of a big holiday gathering.”- Betsy Sharkey (LA Times)
“There’s no denying that the maudlin, message-y machinery of ‘The Best Man Holiday’ often threatens to collapse of its own self-conscious weight. This is a one-two-three-four-hankie movie that misses no opportunity to wring a few tears, no matter how shameless.”- Ann Hornaday (Washington Post)
It looks like most can agree that the film was certainly a tearjerker.
Did you see Best Man Holiday this weekend? What did you think?
Jazmine Denise is an entertainment and celebrity news blogger. Follow her on Twitter @jazminedenise.
In Zoe Saldana’s recent Allureinterview, the Afro-Latina female actor has once again stated that she is unconcerned with any backlash she receives for playing legendary singer and activist Nina Simone. In a perplexing statement, she compares her controversial casting as “The High Priestess of Soul” to Elizabeth Taylor playing Egyptian Queen Cleopatra VII in the 1960s.
“Let me tell you, if Elizabeth Taylor can be Cleopatra, I can be Nina — I’m sorry,” Saldana, 34, said unrepentantly. “It doesn’t matter how much backlash I will get for it. I will honor and respect my black community because that’s who I am.”
Who Saldana is may be clear to her, but her understanding of who Nina Simone was and from where the criticism stems appears to be minimal.
Saldana: Out of touch with African-American audiences?
Contrary to Saldana’s personal beliefs, the vast majority of observers who have weighed in on director Cynthia Mort’s decision to cast Saldana, from India.Arie to Nina Simone’s daughter, Simone Kelly, are black and view it as the ultimate show of disrespect. Not only because it is an aesthetically horrific choice that relies on blackface and prosthetics to pull off, but because Nina’s rich, dark skin, kinky hair and full lips shaped her life’s experiences, subsequently shaping her music.
Nina Simone would not have been able to conjure “Mississippi Goddam” and “Four Women” from the depths of her soul had she been born with more European features and straighter hair.
Further, it is both fitting and unsettling for Saldana to compare herself to Taylor. Cleopatra, whose black African heritage has been passionately argued for and against, has been described as both “tawny” by Shakespeare and a “negress” in some historical texts. For Saldana to claim that casting the extremely pale Elizabeth Taylor to play her somehow justifies her own misguided role as Nina Simone is a slap in the face of the black community she claims to represent.
Her history of ignoring racial history
And this is not Saldana’s first time brushing off criticism as inconsequential.
“What keeps me focused and what kept me from getting stressed from being hurt by the comments is I’m doing it for my sisters, I’m doing it for my brothers, and I don’t care who tells me I am not this and I am not that. I know who I am, and I know what Nina Simone means to me,” Saldana said in an interview with HipHollywood.com.
“I can only rely on that and maintain as much humility as possible, so that when I have to face the world and we have to then give the movie to the world to see, and share it with them, that if it comes back in . . . a negative fashion or positive, I’m gonna keep my chin up. And Nina was like that too. I did it all out of love for my people and my pride of being a black woman and a Latina woman and an American woman, and that’s my truth.”
Colorist privilege with questionable consequences
That curious blend of arrogance and accessibility seems to be the root of criticism aimed at Saldana. She is not embracing her community; she is saying through her dismissiveness that how we feel doesn’t matter. By ignoring the hurt of Nina’s family and the pain of black women who have been deemed too dark, too heavy, too ugly to be portrayed on film as anything other than maids, slaves, and whores, Saldana becomes part of the problem.
Read more on TheGrio.com.
“Sit yo five dollar azz down before I make change.” There’s no way we can talk about this movie without that line coming up. Mario Van Peebles, in his directorial debut, struck gold. New Jack City was a cult and commercial classic, becoming the highest grossing independent feature of 1991. You know the story, you quote the lines but we bet you didn’t these behind the scenes secrets about the film. Check them out.
Ava DuVernay is one of the few Black filmmakers making waves in the industry. In January, she became the first black woman to win the best director award at the Sundance Film Festival for her film “Middle of Nowhere.” The filmmaker sat down with 24wired.tv to discuss why she supports Tyler Perry, the need for more black film directors and the honor of winning Sundance. She’s definitely a Black woman we respect and admire.
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I don’t have to know anything about the Hunger Games to know that it’s leaving its mark on American culture in some huge ways. This weekend, the movie made the third highest-grossing debut in North American box office history raking in $155 million. It’s also exposed something we knew was true about black men, women, and children in real-life but apparently also carries over into fictional cinema—we cannot be innocent, good, or cared about instinctively.
I know nothing about Suzanne Collins’ novel except for the fact that the book has cultivated a Twilight-Harry Potter-cultish-like following of which my little cousin is a part of. As is expected with diehard fans, there are going to be indiscrepancies between the way they visualized things in the book and how they are portrayed on film, but I don’t think anyone expected so much outrage over the character of Rue, played by Amandla Stenberg, a biracial black girl.
Call me crazy, but if I’d read page 45 of the novel and saw this sole description of Rue, Amandla is exactly who I would have expected to see on screen:
“…And most hauntingly, a twelve-year-old girl from District 11. She has dark brown skin and eyes, but other than that’s she’s very like Prim in size and demeanor…”
Apparently for “Hunger Games” readers, dark brown is like the “I’m the same color as you” comments I get from white people during the summer when they come back from an island vacation and think we’re skin twins. They thought Rue would be a dark-skinned white person, and to say they were disappointed that Rue was played by a black girl would be an understatement. The Tumblr Hunger Game Tweets, set up to expose people who talk a bunch of ish but aren’t really fans of the book, as evidenced by their lack of knowledge, caught a startling number of angry responses to Amandla’s character that weren’t just about being shocked that she was black, but more so her blackness changing their entire opinion of the character and the movie. Tweets ranged from:
“Why does Rue have to be black not gonna lie kinda ruined the movie” to
“I was pumped about the Hunger Games. Until I learned a black girl was playing Rue” to
“Kk call me racist but when I found out Rue was black her death wasn’t as sad. #Ihatemyself” to
“Sense when has rue been a n***er” I don’t even have time to go into all that is wrong with that statement.
The viewers weren’t too thrilled about Lenny Kravitz playing Cinna either, although since his dark skin wasn’t mentioned in the book, they weren’t totally blindsided into liking a black person. As for another character named Thresh, there apparently was no clue he’d be black either, despite this description: “The boy tribute from District 11, Thresh, has the same dark skin as Rue, but the resemblance stops there. He’s one of the giants, probably six and half feet tall and built like an ox.”
Another tweeter sent this reaction on the collective inclusion of black characters:
“Cinna and Rue weren’t supposed to be black. Why did the producers make all the good characters black smh”
The most ironic twist in all this discussion is when it comes to the lead character Katniss no one has said a word. That’s most likely because the producers cast a blonde-haired, blue-eyed girl by the name of Jennifer Lawrence as a character that was described in the book as having olive skin and straight black hair. To their credit, they did manage to dye her hair dark— it all sort of reminds me of Elizabeth Taylor and Angelina Jolie playing Cleopatra. The lack of outrage over that change proves this argument is not about incongruences, it’s about the inability for black people to be seen as anything but villains in real life and in cinema.
What’s worse is we talk day in and day out about how we need to change the images on the screen. We need more positive images of black people, we need to be seen in leading roles, but will it make a difference? If we’re talking about black films the people who need to see these images likely won’t even bother to watch the movies. And in this case we see that having positive images didn’t challenge any of the viewers internalized ideals about black people, it simply made them view the portrayals as unrealistic, even making them angry that they had somehow been tricked to care about a little black girl when they didn’t think she was a little black girl. If we can’t soften the youth when it comes to stereotypes and prejudices about black people through an entertainment medium of all things, what can we possibly do that will make a difference?
Since buzzfeed and other sites have run stories about these fans’ racist reactions to the film, Hunger Games Tweets has proudly reported that the number of tweets about Rue and Thresh being black has greatly reduced, but I wouldn’t count that as a victory just yet. I’m willing to bet those people have only stopped commenting because they don’t want to see their twitter accounts blasted across the Internet. No one has had a sudden change of heart about the audacity of movie producers invoking sympathy for a black character. Of course, the fans’ reactions aren’t totally startling considering all that’s going on around us in black America today, but to say they’re disturbing, yet sadly, somewhat expected, would be an understatement.
Are you familiar with The Hunger Games at all? Do you think having more positive images of black characters in films is really the answer in situations like this?
Brande Victorian is a blogger and culture writer in New York City. Follower her on Twitter at @be_vic.
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We caught up with the beautiful and dynamic actresses Tatyana Ali, Anika Noni Rose, Nia Long, and Yvette Brown at the Eye on Black event in Hollywood and asked them about their thoughts on diversity in cinema and the state of African-American representation in Hollywood.