Recommendations 51-55:
51. SELMA (2014), dir. Ava DuVernay
“ONE DREAM CAN CHANGE THE WORLD
“Selma,” as in Alabama, the place where segregation in the South was at its worst, leading to a march that ended in violence, forcing a famous statement by President Lyndon B. Johnson that ultimately led to the signing of the Voting Rights Act,”
Availability: Available on Showtime with a subscription and also available with add-on subscriptions via Hulu, The Roku Channel, and Amazon. Available for rental on YouTube, GooglePlay, VUDU, and AppleTV.
52. FRUITVALE STATION (2013), dir. Ryan Coogler
“EVERY STEP BRINGS YOU CLOSER TO THE EDGE
Oakland, California. Young Afro-American Oscar Grant crosses paths with family members, friends, enemies, and strangers before facing his fate on the platform at Fruitvale Station, in the early morning hours of New Year’s Day 2009.”
Availability: Available on Showtime with a subscription and also available with add-on subscriptions via Hulu, The Roku Channel, and Amazon. Available for rental on YouTube, GooglePlay, VUDU, Amazon, and AppleTV.
53. MILK (2008), dir. Gus Van Sant
“NEVER BLEND IN.
The true story of Harvey Milk, the first openly gay man ever elected to public office. In San Francisco in the late 1970s, Harvey Milk becomes an activist for gay rights and inspires others to join him in his fight for equal rights that should be available to all Americans.”
Availability: Available for rental via YouTube, GooglePlay, AppleTV, VUDU, and Amazon. Also available on Hulu with a subscription.
54. PAPER MOON (1973), dir. Peter Bogdanovich
“THESE AREN’T EVERYDAY PEOPLE AND THIS IS NO ORDINARY MOVIE.
During the Great Depression, a con man finds himself saddled with a young girl—who may or may not be his daughter—and the two forge an unlikely partnership.”
Availability: Can be rented via YouTube, GooglePlay, VUDU, AppleTV, and Amazon. Can also be streamed on Amazon Prime and Paramount+ with subscriptions.
55. COOL HAND LUKE (1967), dir. Stuart Rosenberg
“WHAT WE’VE GOT HERE IS FAILURE TO COMMUNICATE.
When petty criminal Luke Jackson is sentenced to two years in a Florida prison farm, he doesn’t play by the rules of either the sadistic warden or the yard’s resident heavy, Dragline, who ends up admiring the new guy’s unbreakable will. Luke’s bravado, even in the face of repeated stints in the prison’s dreaded solitary confinement cell, “the box,” make him a rebel hero to his fellow convicts and a thorn in the side of the prison officers.”
Availability: Available for rental via YouTube, GooglePlay, AppleTV, VUDU, and Amazon.
[The American Experience Film Recs]
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I feel like we have a very distorted understanding of how much of Black entertainment media is centered around struggle.
It always annoys me to hear other Black folk say,
“I’m tired of all these slave films, I’m tired of all these movies about ‘The Struggle’.”
Because in reality, if you take some time and do a quick survey, there really aren’t very many movies about slavery and “the struggle”. There’s even fewer that are historically accurate and handle these topics well.
Like within the grand scope of Black entertainment media (media made by Black people about Black people), non-slave and non-struggle films far outnumber movies about slavery and racial discrimination.
I think with the onset of the Black Lives Matter movement, we saw a number of films emerge that told stories of police brutality, slavery, and other incidents of racial terror on the Black community. But I feel like people forget to put that era into context and don’t realize that that period was the first time we were seeing serious efforts to tell those stories on screen in a dramatized format. Those films brought attention and publicity to events and issues that white media would have us forget. And is desperately trying to have us forget, as evidenced by the current histeria around Critical Race Theory.
Films like Fruitvale Station, Detroit, The Hate U Give, shows like Underground, Roots were firsts in a lot of ways. They brought attention to individuals and parts of history seldom talked about. And despite being well intentioned, there are serious critiques to be made about a few of these projects (THUG I’m side-eyeing YOU!)
And I can understand as Black people we don’t want to be re-traumatized with dramatic retellings of a reality we are already intimately and painfully familiar with (these films are for non-Black people more than anyone else). But I want us to place our anger in the right direction. There are too many times where the “I’m tired of slave stories” ends up blowing back harder on Black creatives than anyone else.
In my opinion, there isn’t any over abundance of struggle narratives in Black entertainment media. It’s that struggle narratives end up being more highly profiled by broader white media (read: all dominant media outlets and institutions).
Dominant white media institutions only uplift Black stories that either teach them something about racism or reinforce negative racial stereotypes. Slave films sweep awards seasons. Denzel got nominated for Malcolm X, but he won for playing a corrupt cop in Training Day. Monique gave us years of laughs as she portrayed a playful, and fun loving relationship with her daughter on The Parkers (a role she could’ve easily won an Emmy for), but her Oscar came for playing a toxic and abusive mother in Precious.
If there’s something to be upset about it, it’s that. Its that Black film and television isn’t valued by dominant media when it portrays our simple everyday humanity. They need to see us suffering the terrors of racial capitalism in order to feel and sympathize with our cause and even self flaggelate.
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