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Posts tagged "film"


Charlie Chaplin, age 27, in 1916


Feature films, independent films, short films, and yes even B films. This masterpost has been created to showcase the stories of people of color, who love, laugh, cry, and kick ass. This is by no means the end all list of movies featuring people of color, there are thousands of great films out there, this is just a snippet of films found for your viewing pleasure.  Enjoy.

.D R A M A S.

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.D R A M A D I E S.

.R O M A N C E.

.A C T I O N/.T H R I L L E R.

.L G B T  F I L M S.

.S H O R T S.

.A N I M AT I O N.

(via jessieestey)




Meet the hilarious bestfriends Olivia and Rachel, who star in the upcoming short film “Ackee and Saltfish” where the two girls have to go and get takeaway food after Rachel forgot to soak the saltfish.

watch & share

Love, love this! Also we also once had the  ’what is Couscous?” discussion and lemme tell you, it got intense! 


Steven Barnes and Tananarive Due’s Danger Word (Horror Short)

A 13-year-old girl and her grandfather, hiding out in a wooded cabin after a plague, meet the challenge of their lives when her birthday trip to a trading post goes horribly awry.

Starring Frankie Faison (The Silence of the Lambs, “The Wire,” “Banshee”) and introducing Saoirse Scott (“One Life to Live”).

Nominated for Best Narrrative Short: Pan African Film Festival and BronzeLens Film Festival. Directed by Luchina Fisher (Death in the Family). Written by Steven Barnes and Tananarive Due, based on their novel Devil’s Wake.

(via browngirlsintherain)


Pumzi - Wanuri KAHIU

Look, without our stories, without the true nature and reality of who we are as People of Color, nothing about fanboy or fangirl culture would make sense. What I mean by that is: if it wasn’t for race, X-Men doesn’t sense. If it wasn’t for the history of breeding human beings in the New World through chattel slavery, Dune doesn’t make sense. If it wasn’t for the history of colonialism and imperialism, Star Wars doesn’t make sense. If it wasn’t for the extermination of so many Indigenous First Nations, most of what we call science fiction’s contact stories doesn’t make sense. Without us as the secret sauce, none of this works, and it is about time that we understood that we are the Force that holds the Star Wars universe together. We’re the Prime Directive that makes Star Trek possible, yeah. In the Green Lantern Corps, we are the oath. We are all of these things—erased, and yet without us—we are essential.
Junot Díaz, “The Junot Díaz Episode" (18 November 2013) on Fan Bros, a podcast “for geek culture via people of colors” (via kynodontas)

(via mariahoenenevigglad)


It’s been a big year in Black film, but Shani O. Hilton points out over at Buzzfeed that there’s trouble with lumping this year’s black films — “Fruitvale Station”, “12 Years a Slave”, “The Butler”, etc. —  together:

…honoring the achievements of Black filmmakers by declaring it “their” year does them a disservice. Lumping together heavy dramas with lighthearted romcoms simply because of the skin color of the actors or director prevents these films from being measured against the whiter counterparts that actually share their genre — inadvertently ghettoizing the former and protecting the latter from scrutiny. It’s difficult to imagine pulling, say, Blue Is the Warmest ColourThe Great GatsbyThe Hangover Part III, and The Fifth Estate into a story declaring 2013 the year of the “white movie.”

If 2013 is notable for Black filmmakers in any way, it’s that the models for distribution are more diverse than ever. [London black filmmaker Patrick Victor] Monroe’s smart script led Cumberbatch and his SunnyMarch production company partners to jump on board. The team launched a crowdfunding campaign, leaning on the actor’s name in an attempt to raise about $40,000 on IndieGogo — and ended up with nearly $140,000. (Monroe noted, “I wasn’t sure about using Benedict’s name to raise money — it just didn’t feel right to me — but Benedict was totally in to do it and to be involved.”)

And not only that, according to Hilton, but we’ve also been here before:

The independent Black film wave adds a layer of richness to an experience familiar to many Black Americans. “Back in the late ’80s and ’90s, it was, ‘Spike Lee has a movie and we have to go see it — gotta go support it,’” said Malcolm D. Lee. “Now there’s a bunch of movies and talented filmmakers out there, and they’re getting their movies funded and they’re going to festivals — and that’s a beautiful thing for filmgoers, the popcorn filmgoer, and the search-out-the-arthouse-theater filmgoer.”

It’s a compelling argument. Read more over at Buzzfeed.


Like a character who develops a discreet but noticeable cough at the end of the first act, the movies have been dying for a long time. The latest chapter in their decline — which began, depending on who is telling the story, with the introduction of sound, the rise of television, the fall of the old studios, the spread of home video or the arrival of the Internet — was written earlier this year. …

It is no longer news that video games are, measured in dollars and hours spent by the young, bigger than movies. And the notion that television is better, a provocative claim just a few years ago, when the memory of “The Sopranos” was still fresh and “The Wire” was winding down, is now conventional wisdom in the era of “Mad Men,” “Game of Thrones,” “The Walking Dead” and “Girls.” …

It is easy to conclude that movies have surrendered that long-held vanguard position. The creative flowering of television has exposed the complacency and conservatism that rules big-money filmmaking at the studio level, the deep malaise that Soderbergh, Spielberg, Obst and many others, aesthetes and populists alike, have lamented. Audiences are expected to see the same thing — the planet-shaking battle of good and evil; the high jinks of overgrown boy-men; the adventures of a plucky animated creature out to prove himself in a world of celebrity voices — again and again, up to and past the point of exhaustion. Winning formulas and popular brands (Pixar, Marvel, J.R.R. Tolkien, Johnny Depp) are run into the ground, stripped of novelty and magic in pursuit of profit. Visual clichés run amok. If the fight on the speeding train in “The Lone Ranger” wasn’t enough for you, there’s one in “The Wolverine.” At the climax of the latest “Star Trek” movie, Spock and Khan fight it out while San Francisco is smashed to pieces. In the Superman reboot, the Man of Steel and Zog do the same in Metropolis. Does anyone care?

But within this landscape of bloat and desolation, there is quite a lot worth caring about. More important, there are filmmakers determined to refine and reinvigorate the medium, to recapture its newness and uniqueness and to figure out, in a post-film, platform-agnostic, digital-everything era, what the art of cinema might be. Like every previous period of decline — which is to say like just about every other moment in the past century — this is an age of wild and restless experimentation. Maybe even a golden age.”

Read on: The Big Picture Strikes Back

Graph: Did This Movie Have to Be a Movie? | NYT

Contracted - Lesbian Horror Movie

When gorgeous lesbian Samantha has a drunken one night stand with a strange man, she contracts what she thinks is a sexually-transmitted disease. But the truth is far more disturbing. As her horrific condition worsens, her friends begin to fear for her… and themselves. A gory body-horror film in the vein of David Cronenberg, Contracted provides truly gut-wrenching, visceral terror.


from their Indiegogo page:

The Monster Slayer Project is a contemporary visual retelling of the story of the Navajo Hero Twins, Monster Slayer and Born for Water. This project attempts to explore who these figures might be today, and what foes they might face. Our film is set in a small town on the Navajo Nation and follows our protagonists, Shondiin and Nathan Yazzie as they follow in the footsteps of the legendary Hero Twins to gain the ability to defeat fearsome monsters that have been emerging from the wilderness, and to solve the mystery of their origin.

Our film seeks to bring the story of the twins to a younger generation, and to create mainstream images of native characters who are strong, self-reliant, and motivated heroes. We want to make something that will appeal to a large audience, but especially to youth from the Four Corners region…The end goal of this project is the production of a feature film or television series to be produced in the Gallup area, and on the Navajo Nation. By melding the ancient storytelling traditions of the southwest with current revolutions in digital image-making and special effects, we seek to bring these characters to life. 

(via payslipgig)


THE GUERRILLA ANGEL REPORT — Update: Sept. 8, 2013. I feel Lana Wachowski’s video here is worth watching over and over again — she’s inspiring to us all.)

Filmmaker and trans woman Lana Wachowski, who (along with her brother Andy) directed the The Matrix series films, accepted the Visibility Award by the Human Rights Campaign and rewarded attendees of the event with a truly emotional — sometimes humorous, sometimes gut wrenching — speech about her transition into Lana. (She got this award and gave this speech in 2012.)

A private person, somewhat shy and unaccustomed to giving a speech in front of a large audience, Lana Wachowski pulled off the impossible — she had the audience hanging on to every word, mesmerized for the entire 25 minutes she spoke.


GLAAD’s Studio Responsibility Index On Gay Representation Recalls Last Year’s Awful Movies

With yesterday’s release of the inaugural Studio Responsibility Index, GLAAD confirmed that thing…

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Otherworldly Videos: Kina Sky + Ain’t Nothing But a She Thing #afrofuturism

Sorry everyone that I have been gone so long. I kind of was distracted for a bit. But I am back! In light of some of the recent internet controversies that happened last week, including one involving Harriet Tubman (shame on you Russell!), here is a some…

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Destination: Planet Negro! (2013, directed by Kevin Willmott)