Olivia (Kerry Washington) and Fitz (Tony Goldwyn) indulge in a shared future for one night.
Score this round for the (relatively) good guys.
In the last episode before the winter finale, we saw the pieces begin to move. While Olivia and Fitz’s dalliance in the house revealed just how far Fitz’s obsession flame went — not to mention how badly he seems to want out of politics — the duo also came to an understanding, if not an outright alliance. Each would do what they had to do to unravel Eli and B613.
I’ve always given side-eye to Fashion Fair Cosmetics ever since I started wearing make-up. To be a part of the Johnson Publication empire–the people who bring us Ebony (and its online equivalent) and Jet–their make-up was not only too rich for my wallet but never quite fit my skin tone. (You’d think, of allllll the companies, Fashion Fair would have a shade that fit the full spectrum of Black folks and well, right?) And, to be honest, the brand itself made me think of its relevance to my mom’s generation–the fresh-off-the Movement, up-the-corporate-ladder Baby Boomers–not mine.
So if you see casual racism, remember it. And talk about it.
Notice if you’re ever guilty of it and, if you are, take responsibility for it.
I would say explain it to other white LGBTQ people, but it’s frustrating when it takes a white person saying the same thing people of color have been saying for ages to convince other white people to change their actions.
Instead, tell them to take the race related concerns of LGBTQ people of color seriously–as in listen to us.
As LGBTQ people, we get silenced all the time, told we’re too sensitive, told not to flaunt our sexuality.
Sexual minorities of color can find themselves silenced further when their concerns about race are dismissed by the predominantly white, mainstream LGBTQ community.
Winner of the Best Director Award at the 2012 Sundance Film Festival, MIDDLE OF NOWHERE follows Ruby, a bright medical student who sets aside her dreams and suspends her career when her husband is incarcerated. As the committed couple stares into the hollow end of an eight-year prison sentence, Ruby must learn to live another life, one marked by shame and separation. But through a chance encounter and a stunning betrayal that shakes her to her core, this steadfast wife is soon propelled in new and often shocking directions of self-discovery – caught between two worlds and two men in the search for herself.
Ava DuVernay is back! And I have been dying to see this film.
Latoya will have more Sundance Film Festival coverage over the course of the week, but we’d be remiss in not extending congratulations to Ava DuVernay on winning the festival’s Best Director award this past Saturday for her second feature, Middle of Nowhere.
DuVernay made a well-received debut last year with I Will Follow, which she wrote and directed.
Nowhere, which DuVernay also wrote and directed, stars Emayatzy Corinealdias (Akira’s Hip-Hop Shop) a woman trying to keep herself up in the wake of her husband (Omari Hardwick) going to jail, with the emphasis on her own struggles in the outside world, rather than her husband’s jail time.
“It touches the prison wife’s tale,” DuVernay told It’sOnTheGrid’s Jason Scoggins “But really it’s a story about a woman who’s living within a relationship that’s imbalanced, which is something that a lot of women – and a lot of people – know a lot about.”
Like her last film, Nowherewas picked up for distribution by Participant Media and AFFRM (African-American Film Festival Releasing Movement), which DuVernay founded to help African-American independent films get increased limited engagements, so her latest effort should be hitting some more film festivals later this year.
We’ve posted DuVernay’s chat with Scoggins, in which she talks about making Nowhere without telling her clients at her other job (she worked as a publicist before becoming a filmmaker), among other subjects, under the cut. Continue reading →
I understand wanting your indie film product of color vetted through the proper channels. I get it. But just be aware that that is what you’re doing. Be aware that your indie is handpicked by a select few. And be clear that your indie is very white boy in view. Not a bad thing. White boys like all kinds of cool stuff – other white boys, white girls and the occasional thing of color that speaks to their sensibilities as white boys. But be real, that’s limited.
It limits you from hearing new marketing and distribution ideas, meeting filmmakers and experiencing films outside of this establishment construct, outside of the circle. You’re missing some good new stuff and ignoring success stories from many folks of color (See: I Will Follow or Mooz-Lum) or are by folks who are just downright colorful (See: Audrey Ewell’s Until The Light Takes Us and Bob Ray’s Total Badass). It’s not progressive. And it isn’t what I feel most people who love, support and live indie film really want. I don’t think its purposeful hateration. I think its just this lull of curation and prestige and, to be quite honest, laziness. Whatever it is… its affecting the whole business. And its far from positive.
If these statements makes you proclaim that I’m trippin’ and “there IS no circle”– then I’m happy that I’m not talking to you. Really am. Thrilled, in fact. And I invite you to see my film about a grieving black woman shot in Topanga Canyon that Roger Ebert called “one of the best films he’s seen about the death of a loved one.” You’re just my kind of audience member. - From “What Color Is Indie,” as posted on Hope For Film
By Guest Contributor Rob Fields, cross-posted from Bold As Love
Director Ava DuVernay’s award-winning film opens this Friday, March 11. I haven’t seen it, but it seems like it might be something worth checking out. The film won the Narrative Audience Award at the Urbanworld Film Festival and was recently praised by critic Roger Ebert. So, what’s it about? Here goes:
I Will Follow is a tender, thoughtful, inspiring film about love, loss and the ties that bind. Written and directed by Ava DuVernay, this award-winning drama chronicles a day in the life of a grieving woman (Salli Richardson-Whitfield), and the twelve visitors who help her move forward in a brave, new world.
“Male rappers have such an amazing amount of power and influence. If they spend their time dissing African American women, then what’s expected of the people that are buying their records; its not much to be said for them to want to spend money to hear an African American woman speak her mind.” — MC Lyte
Reader Tatisha sent in a request for us to cover BET’s My Mic Sounds Nice, saying “If that network could revamp it’s current negative image with one show, that was it.”
And was she ever correct. Over the long weekend, I caught up with my backlogged programming and found that in just one hour, the documentary managed to outshine all of the panels and conversations on hip hop and present a truly engaging conversation about the role of women and the evolution of hip-hop culture.
Ava DuVernay’s amazingly smart documentary relies on first hand testimony from those in the industry to provide the narrative, cutting between interviews with people like Eve, Trina, Joan Morgan, Chuck D, Roxane Shante, MC Lyte, Missy Elliot, Salt N Pepa, Rah Digga, Jermaine Dupri, Swizz Beatz, and Smokey Fontaine.
“Females don’t get as much exposure as men in hip-hop.” Eve provides a strong start, as the documentary begins to frame some of the challenges for women in the hip hop space. Continue reading →
Race, Culture, and Identity in a Colorstruck World