What’s The Hold Up With Black Indie Films?

December 14, 2011  |  

 

In 2008, filmmaker Dennis Dortch was living the life that many independent film directors and writers aspired to. After being rejected by Sundance the previous year, his film “A Good Day to be Black and Hot” was gaining well-deserved praise and attention.

“It was probably the greatest experience in my filmmaking career. It’s the time that every filmmaker wants.  To be recognized in the street, have your film be talked about,” said Dortch. “People come pat you on the back. That happened for like two weeks. They take care of you very well and make you the star when usually the stars are the people in the film.”

Nicknamed “Blackdance,” it’s apparent that since 2008, there has been an increase in the number of African-American filmmakers showcasing their work at the most esteemed film festival in the country. In 2010, there were just over a dozen, still a significantly low number compared to the 113 films that were accepted. One of the most prevalent black films that did make it to theaters was Tanya Hamilton’s “Night Catches Us,” a romantic drama based on the 1970s Black Power movement.

Though beyond the Sundance Film Festival, there lies a misty void in African- American culture that many in the film industry are working hard to solidify. Organizations like the Urbanworld Film Festival, the American Black Film Festival and distributor Codeblack Entertainment (Qasim Basir’s Mooz-lum and Laugh at my Pain) significantly contribute to the cause every year. However, it’s using the foundation that these organizations have built, breaking out of a subculture and making an impact on the general indie film market that will garner lasting effects.

While countless theatrical projects find themselves birthed at film festivals and carried by unwavering support to neighborhood theaters, black independent films are still lagging behind.  From their presence in the general independent film market to their journey onto the big screen, an inquiry constantly hovers: what’s the hold up with black indie films?

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