Black Art/Independent Films

[Majestyx]

 

[loyola llothta]

Dope Review

If you aren't careful, the world will try to tell you who you are, and you might be dumb enough to believe it.

Rick Famuyiwa's "Dope" follows high school senior Malcolm (Shameik Moore), and his two best friends Jib (Tony Revolori) and Diggy (Kiersey Clemons), as they struggle to fit into their Inglewood, California neighborhood that's affectionately coined The Bottoms. Obsessed with 90's hip-hop culture, the trio hide behind the stylish and musical nuisances of a past time, instead of facing their 21st century environment. A film that initially felt like it could be another "Boyz N the Hood" or "Menace II Society," I thought I had seen some version if this story before. It turns out, I was dead wrong.

Instead of a typical coming-of-age tale, "Dope" is like a modern day Black "Ferris Bueller's Day Off" (1986), or almost any other John Hughes film. Average American teen nerd who, in an ambitious act of self-exoneration, becomes cool, and/or has a sexual encounter with a girl seemingly out of his league. "Dope" is somewhat like that. Also, Malcolm breaks the fourth wall, speaking to the audience, and his constant self-analysis is much like Ferris’.

Though he’s known for his “grown up” films like "The Wood" (1999) and "Brown Sugar" (2002), director Famuyiwa really captures the essence of coming-of-age in Obama’s America. He encapsulates John Hughes nostalgia, and flips it on its head to incorporate the vitality of John Singleton’s films. In doing so, Famuyiwa gives a voice to today’s young black male, while removing the "hood-homeboy" element that we’ve often seen in the past.

Famuyiwa seems to have thrown every stylistic idea he's ever had into the film, so much so that I was often reminded of a Pinterest board. But, despite the stylized filmmaking with many visual effects, the majority of Famuyiwa’s choices work. The film does get a bit showy with some of its use of spilt screens, and the like, for example; but Famuyiwa is able to reign in his audience, ultimately bringing the focus back to the story at hand, emphasizing substance over style.

The music in the film also played a pivotal role in driving the story home. Malcolm hoards VHS tapes of old "Yo! MTV Raps" recordings, and instead of an iPod he uses a cassette player. Everyone from Nas to A Tribe Called Quest provide the soundtrack to daily life in The Bottoms. The old-school sound juxtaposed against new artists like A$AP Rocky - who plays a supporting role in the film (and is actually quite good), and others who make quick appearances - really comment on the longevity and the importance of hip-hop culture. Likewise, Zoë Kravitz’s unpretentious portrayal of Nakia, is the cherry on top. It was like looking at her mother Lisa Bonet all over again.

Much of the film’s humor comes form newcomer Moore and surprisingly, Chanel Iman, who I initially thought may have been miscast in the role of Lily. Iman’s performance was over the top (as it should have been for the role), however, I was nagged by a feeling of inauthenticity when she first appears in the film. At first, Lily seems to exist in a world outside of Malcolm’s, but I suppose that was likely the point.

The film, like others, is not without its flaws. As noted previously, some of the visual gimmicks felt contrived, and left me wondering, in each moment, if what I was watching was meant to be a work of satire, or a straight narrative. Still, the charm of the actors, as well as the story, helped me easily forgive what I felt were a few false steps. Like the "hood-homeboy" films of the 90s, the city of Los Angles is a character in the film. The modest bungalows and palm trees don’t simply serve as a backdrop to the narrative; the visual framing of the city grounds the audience in the space, so much that the story and the city exist as one.

What I love most about "Dope" is director Famuyiwa‘s confidence in his audience. He seems to have thrown every cinematic *trick* he knows into the actively-paced film, never really relenting, seemingly believing that his audience can keep up. "Dope" isn't a spoon fed tale, and that makes it even more worthwhile.

Overall, the story pays homage to hip-hop music and culture of the 90s, but it's also very much a film of the present. "Dope" reflects back on the people we've lost, and looks forward to today, at those who are simply trying to figure out who they are.

 

[loyola llothta]

Netflix Announces Release Dates for 'Beasts of No Nation

Idris Elba in Cary Fukunaga's film adaptation of Nigeria author Uzodinma Iweala’s bestselling debut novel, "Beasts of No Nation"

Netflix has announced the release dates of its original film initiative, which includes the Idris Elba drama "Beasts of No Nation," which is written and directed by Cary Fukunaga.

The film will debut Friday, October 16, 2015 worldwide on Netflix, in all territories where the service is available, and on the same day in select USA theaters, in a partnership with distribution company Bleecker Street.

"Beasts of No Nation" is based on the highly acclaimed novel by Nigerian author Uzodinma Iweala, bringing to life the gripping tale of Agu, a child soldier torn from his family to fight in the civil war of an unnamed African country. Newcomer Abraham Attah stars as Agu, while Elba plays the role of Commandant, a warlord who takes in Agu and instructs him in the ways of war.

"Beasts of No Nation is a powerful film that unfolds beautifully in the hands of director Cary Fukunaga with Idris Elba delivering a career-defining performance," said Ted Sarandos, Netflix Chief Content Officer, "We are so proud to bring a film of this caliber exclusively to Netflix members around the world at the same time as it appears in select theaters."

“Making this film has been one of the most profound professional experiences of our careers. Everyone, from Cary to our production assistants, sacrificed so much to make this film authentically in West Africa, where Uzo's story was set,” said Daniela Taplin Lundberg, co-founder, Red Crown Productions. “To know that this harrowing and beautiful movie is going to reach the more than 50 million people within Netflix's reach is beyond our wildest dreams. The Netflix team is bold and has the same pioneering spirit about distribution that I like to think we had about making the film in the jungles of Ghana. We could not be happier about this partnership.”

As you might recall, following last year's declaration that they will boycott Netflix's first feature film - a sequel to "Crouching Tiger, Hidden Dragon," which the streaming company plans to release both on its website and in theaters simultaneously - major theater chains, AMC, Regal, Cinemark, and Carmike, maybe not surprisingly, announced earlier this year that they will also boycott the theatrical release of “Beasts of No Nation,” which Netflix acquired for $12 million, outbidding every studio that was interested in the film.

In a statement, a rep for Regal said: "... at Regal we will not participate in an experiment where you can see the same product on screens varying from three stories tall to [three inches] wide on a smart phone. We believe the choice for truly enjoying a magnificent movie is clear."

But not all are anti-Netflix's disruption of staid industry practices. IMAX CEO Richard Gelfond has defended the company’s decision to partner with Netflix on a simultaneous video-on-demand and movie release of the "Crouching Tiger" sequel, saying, last year, that he believes the IMAX release will still be successful because of audiences in China, where Netflix is currently unavailable (although the company continues to try to push into that country of billions), and where IMAX theaters are not operated by the American chains AMC, Regal and Cinemark. Gelfond also emphasized that Netflix, with its new movie model, may be on to something.

"Theaters are our partners, and by bringing additional content to the market, I think it helps the market and I think it’s helping them. I understand change isn’t always the easiest thing in the world, it’s easier to stick with the status quo, but on the other hand, if you don’t try to change you get stuck in a certain place," Gelfond told The Wrap last year. "We made our reputation by innovating."

The same goes for "Beasts of No Nation," as the Alamo Drafthouse indie chain of theaters with 19 nationwide, although gradually expanding, said it will buck the trend and run the film.

Said Tim League, the company’s CEO and founder, "I’m agnostic about this sort of thing [...] I look at films I want to play and I play them regardless of the release strategy [...] I don’t look at myself as a competitor to Netflix. I think that argument is a little bit of a red herring. I watch a lot of movies at home, but there comes a time where I want to get out of the house. I look at cinemas as one of those options that compete with restaurants or baseball games or all of those things I can’t do in my living room."

I think he speaks for millions of Americans, including yours truly.

Adding to the conversation, Amy Kaufman, producer of "Beasts of No Nation" said: "It could be a game changer... This has the potential to change the way people perceive how movies and art are delivered to them."

Well, yes, it does. In fact, it already has!

"Beasts of No Nation" is a film that's on my 2016 Oscar predictions list, which you can read here.

 

[blac_da_rappa]

The short film that launched a few careers...



It's fukking amazing.

The writer/director hasn't gotten a Hollywood feature ye (last time i checked)t, if a white guy had wrote/directed this he probably would have gotten one. But he's caking in television.

That was good short film

 

[loyola llothta]

Made on a shoestring budget, "Ojuju" is an impressive, subversive take on the zombie genre, and helps cement Obasi as a filmmaker to watch.

He's already moved on to his next film - from tackling the zombie sub-genre, to now delving into the crime-thriller, with "O-Town," a film he wrote and is directing, currently in post-production.

Here's a breakdown of the upcoming movie: "The story of a small town as told from a mysterious filmmaker's point of view. O-town is the town of his birth, and Peace, a two-bit hustler is at the center of all that has gone wrong with the town. The mysterious filmmaker has a near omnipresent overview of the pimps, the scammers, and the drug dealers as they ravage the moral backbone of a town wholly subjugated by a sadistic and suavely mannered gangster, simply known as The Chairman...but not for much longer."

It reads like another renegade take on a familiar genre, with contemporary Nigeria as the backdrop, and I'm looking forward to it!

The film stars Paul Utomi as Peace, and Kalu Ikeagwu as The Chairman.

Chucks Chyke, Brutus Richard, Delvin Ifeanyi, Ifu Ennada, and Lucy Ameh round out the starring cast.

Oge Obasi is producer.

Set for premiere later in the year, Obasi has released an early look at the film, via 2 new official posters (above and below), as well as a short teaser (emphasis on "teaser"):

 

[loyola llothta]

A first teaser trailer for "Beasts of No Nation" has surfaced and it's embedded below:

 

[loyola llothta]

Trailer: Acclaimed South African Filmmaker Charles Vundla Returns with Dramedy 'Cuckold'

South African filmmaker Charles Vundla follows up his 2011 award-winning *neo-noir* "How To Steal 2 Million," with "Cuckold," a dramedy which tells the story of a young professor consumed by alcoholism who is saved from self-destruction by a former schoolmate and begins a journey to save his house, marriage and his life.

Starring Vundla himself, along with Terry Pheto, and Louis Roux, the film is set to make its world premiere at the Toronto International Film Festival next month, in the World Cinema section.

This is the first time I'm learning of "Cuckold" so there isn't much I can add to the above. in terms of what to expect. But I can say that, based on Vundla's feature debut, the aforementioned "How to Steal 2 Million" which I have seen (a title which is a play on the title of William Wyler's 1966 heist comedy "How to Steal a Million," starring Peter O'Toole and Audrey Hepburn), an explosive, unpredictable, dark and stylish modern-day film noir, Vundla certainly has my attention, and I'm looking forward to seeing what he's cooked up for us next.

By the way, "How to Steal 2 Million" is out in the USA on various home video platforms (including iTunes and Amazon), so look for it.

"Cuckold" is a Siascope/House Rising Pictures production.

Trailer embedded below:

 

[loyola llothta]

Timely Brit Documentary 'The Hard Stop' Explores Life & Death of Mark Duggan + Riots That Followed (Trailer)

An upcoming documentary feature with the Sundance stamp on it (selected for the Sundance Institute's Documentary Edit and Story Lab 2014, Creative Producing Summit 2013, and was a Sundance Documentary Film grant recipient), from director George Amponsah, described as a hybrid observational work of non-fiction, previously-titled "Down By Law," it'll make its world premiere at the Toronto International Film Festival under the name "The Hard Stop."

The very timely film centers on Mark Duggan, a young black man who was killed by armed police in London, on August 4, 2011 - an event regarded as the spark that set the London riots in motion later that year. Mark Duggan, a 29-year-old, was shot and killed by police in Tottenham, North London. The Metropolitan Police stated that officers were attempting to arrest Duggan on suspicion of planning an attack, and that he was in possession of a handgun. Duggan died from a gunshot wound to the chest. The circumstances of Duggan's killing resulted in public protests in Tottenham which, fueled by poverty and racial tension, led to conflict with police and escalated into riots across London and other English cities.

The official story of Duggan's death has undergone numerous changes, drawing criticism and suspicion from Duggan's family, residents of Tottenham, and other supporters. These critics accuse police of misconduct and of failing to cooperate with investigating Duggan's death. Shortcomings in police response have also been blamed for stoking the riots, and for fueling ongoing discontent.

Amponsah's film explores the life and death of Mark Duggan, as well as the Tottenham riots of 2011 that would follow.

The project is also supported by the BFI Film Fund, following a pitching session 2 years, held at and in partnership with the UK’s leading documentary festival, Sheffield Doc/Fest.

 

[loyola llothta]

Trailer: South African Rom-com 'The Jakes Are Missing'

From South African production company Figjam Entertainment and distributor/exhibitor Ster Kinekor comes the romantic comedy "The Jakes Are Missing," from writer/producer Bianca Isaac, which is set to open in theaters there on October 23 at At Ster Kinekor cinema's nationwide.

Starring Mampho Brescia and Pope Jerrod as the Jakes (a couple who have fallen out of love), the film follows the pair and their teenage son, played by Mpho Sebeng, as they find themselves at the wrong place at the wrong time, when the son becomes the witness to a murder and escapes the crime scene with something crucial that the criminals are willing to kill for. This sends the Jakes family on a journey loaded with wacky characters people and "the worst bad guys ever," all while rediscovering what it means to love each other.

Nomzamo Mbatha, Nicole Bailey, Celeste Ntuli, Heidi Mollentze, Zakeeya Patel, Jody Abrahams, Sokhulu Mthiyane, Craig Palm, Dirk Stoltz, Abigail Kubeka and Darlington Michaels round out the film's cast of some household names.

Co-directed by directed by Neal Sundstrom and Denny Miller, the filmmakers promise a movie that will entertain viewers, young and old, with its universal storyline and theme, filled with comedy, drama, intrigue and romance.

No word on whether it'll travel but based on the trailer below, it looks like something that will play well to audiences here in the USA.

 

[mr x]

this thread should be stickied over most of the threads that are

 

[loyola llothta]

Black&SexyTV Is Coming to Your TV Screens - BET Picks Up 3 Series From the Digital Network

Finally! This was only a matter of time I've always felt.

BET has announced that the network has picked up 3 series from the Black&SexyTV digital network; you know the name and the brand by now, I certainly hope. If not, check out their growing empire of original scripted series here (over 100,000 YouTube subscribers and counting, amassed over a relatively short period of time).

The 3 series picked up by BET are “RoomieLoverFriends,” “Sexless,” and “Hello Cupid."

“We noticed Black&SexyTV has a dedicated fanbase, and their fans’ obsession for this content mirrors the obsession our audience has for BET and our content,” said Pete Danielsen, BET’s exec VP of program planning, scheduling and acquisitions.

The news comes some months after a Black&SexyTV pay-per-view VOD service was launched, coinciding with the debut of a new addition to their growing library of content, titled "S E X L E S S," which launched on Valentines Day via a free pilot last February.

At a cost of $7 per month, subscribers have access to current BLACK&SEXY content, as well as all past pay per view events (they did 5 of those last year), exclusive series, monthly music mix tapes, exclusive behind the scenes bloopers and interviews with the stars, and show creators/crew members, and more.

It was a move that I thought certainly makes business sense. Content doesn't come cheap; investments (money and time) must be made to, essentially, give the people what they want. And after 3 years of earning their way into your online viewing schedules, giving you what you want, essentially for free, establishing themselves and gaining your trust in them to entertain and enlighten you, via their YouTube channel, a subscription service was the logical next step (subscribe at www.blackandsexy.tv).

And this move to your TV screens is certainly significant, and should expand their reach as awareness for the brand continues to grow. Many of you have asked me in recent years why black TV networks like BET (TV One and others) who are in need of original scripted content, seemingly aren't rushing to acquire web series with significant followings and brand recognition; well, here you go! They are!

“RoomieLoverFriends” (starring Andra Fuller and Shayla Hale) will be the first to premiere, making its debut on BET tomorrow, Wednesday, September 16, at 11 pm ET/PT. The series will unfold over 4 hour-long episodes in successive weeks.

The other 2 series will come later.

Congratulations to Dennis Dortch and Numa Perrier, and the rest of the Black&SexyTV team.

 

[loyola llothta]

New Trailer for Dystopian Gangland Anime Series 'Urbance'

From Steambot Studios comes the animated work "Urbance," which I first profiled in January of 2013, and have been tracking since.

At the time of my last post, plans were for it to eventually become a TV series. While they had been working on the project for over 3 years, there was still much to be done, most importantly, money to be raised - which they did successfully last fall (2014), via Kickstarter, in the sum of $229,301 CAD (which is about $175,000 US).

Almost a year later, a first trailer for what will indeed be a series has been released, and is embedded below.

The "Urbance" synopsis reads: In the big city, gender war rises. Sex is prohibited because of a genetic deadly virus. Ruled by hate and anger, boys and girls grow up apart from each other, forming rivals gangs. Among these lost teenagers, Kenzell and lesya will fight adversity and defy all the rules in order to live their love and restore peace.

"Urbance" comes from Canadian director Joel Dos Reis Viegas, made for Steambot Studios (a Canada & USA-based development studio who work in a variety of media platforms, including film and TV).

The new trailer follows immediately below (underneath, you'll find the very first promo the filmmakers shared 3 years ago to refresh your memory). No ETA yet, or where the series will eventually end up.

 

[ℒℴѵℯJay ELECTUA]

SYNOPSIS
Louis and Jack have been friends since forever, so how could anything as lame as adulthood change that? But Louis's first adorable attempts at grown-folk business are increasingly at odds with Jack's ceaseless quest for new damns not to give. One hot summer day, Louis makes plans with his new friend Andrew, and Jack refuses to get left behind, both metaphorically and literally. Twenty-four hours later, everything has changed.

 

[Danie84]

Can't believe I've slept on this BLACKEXCELLENCE thread

...lowkey, TV-One's Born Again Virgin is actually , and has fine sistahs on it

LA Banks Vampire Huntress would be a PIFF anime, and congrats Black&Sexy TV

 

[loyola llothta]

Reel Art Press’ Separate Cinema: The First 100 Years of Black Poster Art by John Kisch and Tony Nourmand is a centennial celebration of black film poster art. Part history lesson, part art book, the hefty volume features a foreword by scholar Henry Louis Gates, Jr. and afterword by filmmaker Spike Lee. “The wealth of imagery on these pages is taken from The Separate Cinema Archive, maintained by archive director John Kisch,” the publisher shares. “The most extensive private holdings of African-American film memorabilia in the world, it contains over 35,000 authentic movie posters and photographs from over 30 countries.” The posters span the early race films (created for an all-black audience, featuring all-black cast members) to contemporary African-American historical dramas like Steve McQueen’s 12 Years a Slave. See a preview of this essential title in our gallery, with thanks toJuxtapoz, and then visit the publisher for more information.