“I Am Slave” (Film Fest DC Review)

It is both a strength and weakness of “I Am Slave” that the subject matter is not yet on the public radar. Statistics quoted in this film state that there are roughly 5,000 women living in London working against their will. They are undocumented, unpaid, and invisible. Most of these women come from war torn countries in Africa, such as Sudan, sold as captives from raided villages. All are held against their will.

Based on the true story of Mende Nazer, “I Am Slave” is about a young Sudanese girl named Malia, played by the “model-esque” Wunmi Mosaku, who is taken from her family at the age of 12 when her small village is raided. She is forced to spend six years working for the cruel family of a diplomat. She is beaten, starved, and isolated on a regular basis. Her captors hide her passport and systematically instill within her a paralyzing fear.

Gabriel Range brings this magnificent film to life. The cinematography is stunning. Range brilliantly uses gorgeous African landscapes as well as dark and gritty shots of streets in Europe. He uses wide-angle lenses when shooting Malia’s homeland, creating a pristine image of her childhood memories. The raw and narrow shots that follow Malia through her enslavement are a jarring juxtaposition to the African sceens. These shots give the audience a visual representation of her confinement and limitations.

At times “I Am Slave” may seem to be slow moving. This is perhaps done to portray time as an abstraction, a technique Range has used in many of his films. Malia eloquently summarizes this in “ I Am Slave” by asking, “What is time? Who is to say that years are not but a moment?” This quote speaks to a major theme in this film as well as to Malia’s apparent coping mechanism. She survived as one does in prison, by using time as though it is open to interpretation.

This film is well written, beautifully shot, and perfectly scored. The subject matter is heavy but the story is real and therefore must be told. Slavery still exists but films, such as “I Am Slave”, that bring awareness to this issue are an important step in the direction of eradication.

Pariah (Sundance Review)

I cringe when I hear critics compare this film to “Precious”.

Yes, “Precious” and “Pariah” both have predominantly African-American casts and both story lines contain controversial subject matter. I will even grant that both titles begin with the same consonant. But this is where the similarities end.

“Pariah” explores the life of an African-American teenage girl who is struggling to define her sexuality. But to be clear, this is not your average “coming out” story.

Newcomer Dee Reese directs this film with the grace of a veteran. She makes a wise decision in casting Adepero Oduye as Alike, the film’s protagonist. Alike is a soft-spoken, high-achieving tomboy with a smile that lights up every scene. Laura (Pernell Walker), her best friend, is masculine, abrasive and on a mission to help bashful Alike lose her virginity. (Perhaps now is a good time to mention that this film contains some adult content)

Alike’s parents, Audrey (Kim Wayans) and Arthur (Charles Parnell), are in the midst of a troubled marriage. The dynamics of their relationship is added conflict in Alike’s already confusing life. Audrey’s refusal to accept Alike’s sexuality – even before she has accepted it herself – serves as a catalyst for the teen’s awakening. The film’s most powerful moment, narrated by one of Alike’s poems, involves this issue. In it she poignantly states that she is “not running but choosing” to find acceptance.

Similar to how the characters played by Wayans and Parnell stifle their daughter’s growth, these two actors suppress some of “Pariah’s” brilliance. Their performances are lackluster compared to the film’s otherwise outstanding cast. This is surprising considering that most of the cast members are newcomers. The fantastic breakout performances of these youngsters is reason enough to see the film.

“Pariah” explores the dynamics of gender, sexuality and love. Several of Alike’s relationships are dissected, turning our expectations on their head. However, there are a few relationships that Reese chose not to develop further. For instance, the relationship between Alike and her english teacher appeared important in the beginning of the film but, for some strange reason, failed to materialize later in the movie.

I enjoyed that this film did not go down the roads I expected. I also love that “Pariah” dodges clichés and stereotypes. Alike’s love life, for example, panned out far different than I predicted. In addition to strong writing and acting, “Pariah” also deserves praise for cinematography. The film’s perfectly executed camera shots pull the viewer into the story and add intimacy to this indie drama.

In short, “Pariah” does not simply chronicle the life of a societal outcast, as its title indicates. Instead, this film portrays one of the most beautiful stories of courage and self acceptance that I have seen on the silver screen.

4 out of 5 stars

(To be released in 2011)

We Were Here (Sundance Review)

This is a story you have heard but perhaps as you have never heard it.

I’m embarrassed to admit that I almost missed this screening. The film was shown at 8am and I was still recovering from a bad film screening I attended the night before. I’m also ashamed to admit that I thought to myself, “I’ve seen a million films/documentaries about HIV/AIDS. What else can I learn about this disease?” How very wrong I was….

Directors David Weissman and Bill Weber did not attempt to give us a biology lesson in this documentary. Nor did they tell us to practice safe sex or to become more tolerant (well, not too much). Instead the directors tell a story about those who died and, perhaps most beautifully, those who lived through the HIV/AIDS outbreak in 1980’s San Francisco.

“We Were Here” eloquently and eulogistically stitches together the stories of four unconnected people who lived through the horror that is now known as the beginning of the AIDS epidemic in America. We are introduced to a political activist, a hospital volunteer, a frontline nurse/researcher, and a florist who sold flowers from a stool on a streetcorner. Their stories are heartbreaking. At one point the florist remarks, “One week, they’d be young and healthy; the next week, they’d be walking with a cane. The week after, they’d be in a wheelchair, and the next week, they’d be gone.” Another person stated that everyone in this community lost someone.

The numbers are astounding. Originally thought to be “The Gay Cancer”, AIDS was responsible for 15,548 deaths in the San Francisco area – mostly gay men. The film delves briefly into the ignorance and intolerance that originally surrounded this disease. But much to the credit of the directors, the film doesn’t linger there. “We Were Here” stays firmly focused on the community and those who supported and rallied around its members.

This is a film that truly provides viewers with an intimate depiction of life during this epidemic. There are many touching stories within this documentary that will uplift and inspire. There are also many moments that will compel viewers to turn away. Photos of the bodies of sick and dying men are juxtaposed with photos of them in their healthier days. It becomes evident that this virus claimed many young, otherwise virile lives. One interviewee explains that their fear was multiplied because no one knew what this disease was, where it came from, or how it was spreading. I imagined what this must have felt like and was chilled to the bone.

Although this documentary is narrowly focused it has universal application. As a period piece, this film is a classic. This is a story about tragedy and triumph, humanity and inhumanity, love and loss. There will be moments that make you laugh, moments that make you cry, and moments when you simply will wish to get up and leave. The outbreak of HIV/AIDS was a nightmare and although painful, this moment in our history must not be forgotten. “We Were Here” is a documentary that ensures that its viewers never will.

4 out of 5 stars

(To be released in 2011)

Beats, Rhymes & Life: The Travels of A Tribe Called Quest (Sundance Review)

The story is beautiful but it hurts.

I must qualify that statement by saying that my emotional response to this documentary is due more to my love for A Tribe Called Quest than it is a compliment to the director. Michael Rapaport’s (Yes, the actor who played Remy in the film “Higher Learning”) decision to direct a film that chronicles the lives of group members Q-Tip, Phife Dawg, Jarobi White, and Ali Shaheed Muhammad was ambitious. He successfully pulls together an array of stories from friends, family, and celebrities who knew the group members well. Although Rapaport fully showcases his love for hip-hop, he fails to do anything profound here. In fact, much of the documentary felt more like an E! True Hollywood Story than a full-length film. However, the story is cohesive and viewers will learn a few new things about this iconic group.

Viewers are first introduced to childhood buddies Q-Tip and Phife Dawg – now center to current group conflict – and members Jarobi and Ali Shaheed Muhammad as they struggle to get discovered. They eventually sign with Jive Records and are catapulted into stardom. The beginning of the film is celebratory – or perhaps eulogistic – of the late 80’s, a time when hip-hop was young, energetic, and raw. There are some wonderful interviews with popular DJs, VJs, and rappers from the era during this segment. Perhaps as homage to old school hip-hop fans, Rapaport inserts vintage rap tunes that win approval with audiences. The film also does justice to A Tribe Called Quest’s first two albums, examining their impact on modern day hip-hop and the wide acclaim they still receive. Then the course suddenly changes to Q-Tip’s solo career. Perhaps Rapaport does this purposely in order to allow the audience to understand how quickly A Tribe Called Quest fell apart. Fans may be shocked to learn that their breakup mirrors the drama of Diana Ross and The Supremes. However, viewers may not be surprised to learn that Q-Tip’s eccentricity played a huge role in the breakup. Musical genius is often granted at a psychological price; Q-Tip appears to have paid the cost for his brilliance.

The film culminates with a discussion of Phife’s various medical issues (brought about from childhood onset diabetes) and the support (or perceived lack thereof) he receives from group members. I am certain that Rapaport was thankful for these moments as they are the most memorable and “real” moments of the documentary. The end of the film also showcases concert footage, which may be where Rapaport’s novice experience is most evident. However, I loved the camera views of audience members. Fan appreciation for this group is perhaps most present here. This was a point where I wanted the documentary to examine the change of concert goers from mostly African American in the 1980’s to predominantly white in recent years. This never happened

Rapaport succeeded in telling this story and allowing the audience to become emotionally connected with the group. I myself was heartbroken as group members discussed their breakup. The director was saved by this melodrama but, unfortunately, offered few profound profound moments in return. This documentary is solid and emotional at its best moments and unmemorable and mediocre at its worst. If you love A Tribe Called Quest, you will be drawn in. If not, then at least there are a few funny moments and great beats to entertain you…for a while.

2.5 out of 5 stars

(To be released in 2011)

Blue Valentine

If you’re looking for a lighthearted romantic comedy to watch on Valentine’s Day, keep looking. This is not the film for you.

“Blue Valentine” is a film about love, real love. It tells the story of Dean (Ryan Gosling) and Cindy (Michelle Williams) and their evolution into a married life they did not predict. Even with its gloomy undertones, I really enjoyed this movie. It is a beautiful story that is darkly sentimental and defiantly raw. “Blue Valentine” is not a Hollywood love story wrapped in a neat box with a shiny red bow. It’s not a fairytale. It leaves many questions unanswered and refuses to clearly identify right versus wrong. In actuality the title of this film could not have been more appropriate; this is a sad love story.

The movie begins with snapshots of the lives of Dean, Cindy, and their adorable daughter Frankie (Faith Wladyka). It starts in present day and slowly begins to reveal how Dean and Cindy met and fell in love. Through a series of flashbacks, moviegoers are charmed by Cindy and Dean and won over by the challenges they overcome together. The movie culminates in a seedy themed motel underneath the blue lighting of the “future room”. I admit that the name of this hotel room foreshadows the end of the movie to a nauseatingly opaque degree, but the scene sets a perfect stage for the main characters to flex their acting muscle. Gosling and Williams show exceptional talent in portraying their characters as unique, complex and flawed. Gosling in particular showcases exceptional skill, bringing to life a character that successfully – and at times simultaneously – both melts and rips your heart out.

I applaud the vision of the film’s writers, Derek Cianfrance, Cami Delavignem and Joey Curtis, for putting forth such a compelling story. It takes guts to release a film that is not designed to draw large crowds or leave audiences feeling warm and fuzzy. This film will not appeal to the hopeless romantic; a fact which is its greatest strength (and besides, plenty of films this season will fill that void). “Blue Valentine” is a clever and illusive film that will score high marks with those interested in a story about what can happen after “happily ever after”.

4 out of 5 stars

Black Swan

Why are the psychotic so captivating? Some of my favorite films depict characters with either a mental illness or who have experienced an emotional unraveling. Is it the complexity of acting such roles or the difficulty in depicting the intimacy of psychosis on the silver screen? I may never quite put my finger on it but believe that such films should only be attempted by the uber-talented and ambitious. Thankfully, the cast and crew of “Black Swan” have more than a helping of both.

“Black Swan” is a dark, psychological thriller that depicts the undoing of Nina Sayers (Natalie Portman), a dedicated ballerina. I applaud Portman for her ability to pull off Sayers’ delicate veneer of virtue while violently foreshadowing the character’s destruction. The film appears to be part “Mommy Dearest” part “Single White female” with surprising moments that brought Conrad’s novel Heart of Darkness to mind. “Black Swan” brings together a talented cast, each of whom successfully portray a duality of personas. The film’s depiction of life behind the curtain of a New York ballet company is far more entertaining – and sexy – than one would expect.

I rarely find such depth of character development in Hollywood movies. It is also rare to find a film that successfully masters the handheld camera shot in a way that marries grit with glamour. The film provides a thrilling and often grotesque peek into Sayers’ life as she interacts with fellow ballerina Lily (Mila Kunis), Director Thomas Leroy (Vincent Cassel), and, most disturbingly, herself. While watching “Black Swan”, the audience is forced to distinguish between Sayer’s delusions and their own. This alone should seal the deal for Portman’s Best Lead Actress Oscar win.

“Black Swan” is a smart, provocative film that will captivate audiences and leave them with a few unanswered questions. It is one of the few movies from 2010 that I am looking forward to watching again – quite an honor in my book. This is also one of the few films that will receive a five star rating from me. Don’t get used to that!

5 out of 5 stars