the summer after finishing university in New York, Marinette gets invited to a camping trip with Alya and Nino and his best friend. which, honestly, is for the best. at least she has more time than the four years she's already had to figure out how to reach out to her one-time superhero partner, with whom she fell out of touch after the reveal.
only, it's Adrien Agreste waiting for them on the meeting point, beaming so hard at her that it's blatantly obvious they know each other well. in her panic, what is Marinette supposed to tell Alya and Nino to protect their identites, if not that they used to date?
Seeing as it's Black History Month, I'm gonna take a break from your regularly scheduled girlblogging to be a film nerd and beg every single person reading this post to go and watch Within Our Gates (1920).
Within Our Gates is a feature-length silent film written and directed by black filmmaker Oscar Micheaux and it is a miracle that we have it today. The film was believed to be lost for years until a SINGLE surviving print was found in Spain, translated back into English, and recut to match the original as closely as possible. (This is actually not uncommon in the realm of old film a lot of lost films get found in random closets but ANYWAY.) The film tells the story of Sylvia, a southern schoolteacher who travels up north to raise money to keep her school open. It explores how her life and family have been affected by racism, abuse, and sexual violence, as she falls in love, works to save her school, and grapples with her place as a black woman in the antebellum south. If that's not enough to get you interested, the film is also kinda batshit. There are shootouts! Affairs! Someone gets hit by a car! It's wild and dramatic and incredibly engaging.
You've heard of Birth of a Nation, right? Maybe you've even seen it. That insanely racist piece of film history premiered in 1915. Oftentimes people will defend D.W. Griffith and the film itself as being "a product of its time." Well, Within Our Gates premiered in 1920, and it is a product of its time. It depicts white mob violence against black Americans, and how that violence destroys innocent lives and rips families apart. It is written and directed by a black man. All of its lead actors are black. It is an absolutely heart-wrenching, moving, and intelligent film, produced on a shoestring budget, that explores what it meant not only to be a black American in 1920, but what it meant to be a black woman. Different characters have different approaches to coping with racism and strategies for protecting themselves. It's complicated, and upsetting, and one of the most impactful films I've ever seen.
If you can spare an hour and twenty minutes, if you happen to have access to the film through a streaming service (in addition to being FREE ON YOUTUBE, I believe it's on Amazon Prime, Paramount+, MGM+, and some Hulu plans) or an institution (you may have access to Kanopy or a similar platform via your local library or university), it's worth a watch. Play whatever music you want in the background if your version doesn't have any added! Even if you can't watch it for whatever reason, I'd encourage all of you to look into Oscar Micheaux and the history of "race films," films created outside of the Hollywood studio system by and for black Americans.
Don't buy into the false narrative that the only black representation in historical film was minstrelsy and Griffith-style garbage.
Males accuse women showing emotion to be manipulative but it's males who do this. Despite what many believe, males have no problem with being emotional; they just know being emotional with the wrong people leaves one vulnerable to being exploited but when moids want to manipulate women, part of their manipulation is being emotional i.e. speaking about troubles they face in life to get sympathy laid/justify bad behaviour or claiming their mental health is bad and will suicide bait. Moids aren't victims they know exactly what they're doing.