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Isaac Julien: What Freedom Is To Me

Entering Isaac Julien’s forty-year career survey What Freedom Is To Me you run an edifying gauntlet, a hallway offering a peremptory review of the artist’s vintage and seminal films: Territories (1984), This is Not An AIDS Advertisement (1987), Who Killed Colin Roach? (1983), and Lost Boundaries (2003). These works, created with the Sankofa Film and Video Collective, present the roots and fundamental toolkit of Julien’s approach to filmmaking and social justice.
El Salvador New York United States Morecambe Bay United Kingdom City Of

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Movie Review: 'Minari' Pushes Diversity Propaganda

Most reviews of Minari, the Korean-American film about a family settling in 1980s Reagan-era Arkansas, describe the two-parent, two-child-plus-grandmother characters as “immigrants.” This is not accidental. Reviewers interpret the film as confirming their sentiments about the immigration crisis, even if it means overlooking that the characters actually are U.S. citizens. Fact is, Minari is a nostalgic, semi-autobiographical film, written and directed by Lee Isaac Chung, a Yale graduate wh...
United States Yeri Han Jean Renoir Lee Isaac Chung Monica Steven Yeun Will Patton

Why Didn't Movies about Passing Cast Black Actors?

Passing movies also tended to cast white actors in the roles of mixed-race characters who passed as white. But that wasn’t the case with the original version of Imitation of Life, made in 1934. Fredi Washington made history by being the first Black actress to play a character (“Peola”) who passes as white. Even more unusually, two Black children were cast to play the part of Peola at ages three and seven. The Production Code Administration (PCA), the industry’s self-censorship office, ...
United States Douglas Sirk Monte Hawley Sarah Jane Fredi Washington Susan Kohner
Source: jstor.org

In considering Blackness, Pixar's Soul stumbles into a frustrating trope

Soul, including the ending.] is Pixar’s first film with a Black protagonist, but the story never accepts the narrative complexities of Blackness. It’s a film where the Black character is either a blue blob or a cat for much of the action, but is rarely in his own Black body. It’s a film where a supposedly raceless character takes over a Black body, causing the Black character to minimize his own dreams for a symbiotic good. Soul opens as a story about finding individual purpose in life. ...
New York United States Douglas Sirk Wes Studi Yorker Joe Gardner Lakeith Stanfield

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