Last month, the New Orleans Film Festival highlighted Chained for Life, an independent feature about filmmaking that turns the ableist and faux-progressive notions and acts upside down. After reviewing the movie, I was inspired to contact the filmmaker Aaron Schimberg and lead actor Adam Pearson, to see what they had to say about their film, their experiences, the industry, and how much farther we need to go.
Cane River was screened once or twice before director Horace Jenkins’ death, which in turn threw the possibility of distribution into a quagmire. For decades, it sat unnoticed by most and remembered by a few, until a breakthrough came about that allowed restoration and archive experts IndieCollect to clean it up and establish a New Orleans Film Festival screening this year.
Leilah Weinraub’s documentary Shakedown, about a famous and near-legendary underground L.A. Black Lesbian Strip Club/Troupe from the early 2000s, features many a scantily clad shot of women performing erotic and beyond suggestive dances. These moments, shot under shadows and neon lights, with digital video grain adding to the “past our bedtime” feel, may bare almost […]
It is hard for African-American women with darker complexions to become successful actresses because producers and screenwriters are hooked on exotic black females who look more multiracial than solely black.
It took me some time to come to terms with it, but my earliest memory – both in life and of film – is of the “No Easy Way Out” montage sequence from Rocky IV, a movie that is most definitively an 80s picture. On the NOLA Film Cast podcast, I commented that I wasn’t […]
Spread among six stories, Scruggs is never a chore or a bore, but it does drag once or twice. I admit this may be with purpose – the whole film is made up of frames with urgent and long-lasting purpose – but it still exhibits and exposes a stretching notion.
Suspiria is no riddle wrapped in an enigma but it is rich with unspoken but understood behavior, registered by that charge running up and down the spine. Off the screen and into your dreams and nightmares, this film goes. Our begs and cries prove useless when faced with the imagination of others. Just go with it.
Thunder Road can best be described as a guaranteed crowd-pleaser, with a subversive edge. It’s slick and straight up wacky in how events play out and bleed into one another, but also homey and comforting in seeing and understanding the strange but perhaps healthy by way of mostly odd behavior a personal journey inward can be.
New Orleans has several groups that provide excellent service to our moviegoing culture. Perhaps we can lead the charge in an industry thinking differently?
From the 2018 fest – the 29th Annual – and for your enjoyment, I have made available below three experiences in the form of interview, transcription, and review, that cover two award-winning movies and a genre/theme that is scarcely discussed.
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