Queen Latifah's "Bessie"

by Cláudio Alves

Sometimes, when watching a particularly starry TV production, whether it's a movie or a miniseries, one wonders how it might have impacted the Oscar race if had been released on the big screen. Would Mike Nichols' epic Angels in America have made Jeffrey Wright an Oscar nominee back in 2003? Could Drew Barrymore have snagged Sandra Bullock's Oscar if Grey Gardens had gone to movie theaters? With the 2002 Supporting Actress Smackdown nearly upon us, I began to wonder how Academy Award nominee Queen Latifah might have figured in the 2015 Oscar race with her Bessie. After all, that HBO film is one of AMPAS's favorite types of buzzy titles, a famous musician's biopic with a cast full of prestigious names…

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Dee Rees Bringing Flo Kennedy, Gloria Steinem, and The Fight for the ERA to the Big Screen in "An Uncivil War"

by Daniel Crooke

While her World War II-set Mississippi saga Mudbound continues to roll out across the fall festival circuit, steadily increasing its buzz along the way, rising director Dee Rees has set her sights on the feminist movement’s fight to ratify the Equal Rights Amendment for her next film: An Uncivil War. Particularly focusing on the work of iconic activists Flo Kennedy and Gloria Steinem in the early 1970s as they battle for a constitutional amendment guaranteeing equal protection under the law for all citizens regardless of gender, and against archconservative forces led by fundamentalist organizer Phyllis Schlafly, FilmNation will finance the film with production set to begin early next year.

This is an exciting new chapter in Rees’s already distinguished filmography – which, in addition to Mudbound, includes her tender, achingly gorgeous debut Pariah and the Emmy-nominated Bessie – and the story is ripe for the moment. After so evocatively illustrating in her earlier work the ways in which hard-won personal identity can be met with retaliatory cultural reverberations from the close-mindedness within and around your own community, Rees has set herself up for success to dissect the multi-layered muddle of how this feminist moment impacted America. Indeed, in her own words: “I'm particularly interested in digging into the messiness of the women's movement — the many different alliances that were formed and fractured and exploring who got left behind vs who got remembered.” Personally this quote reminds me of the backroom brainstorm meetings between the fractious feminist street bands of Lizzie Borden’s dystopian docu-manifesto Born In Flames, a film which happens to feature Flo Kennedy in a galvanizing supporting performance as an elder stateswoman of the cause. That story, like this one, is a tale of intersectionality.

As An Uncivil War marches into pre-production, who would you cast as Flo Kennedy, Gloria Steinem, and Phyllis Schlafly?

The 50 Greatest Films by Black Directors

Slate magazine has drawn up an interesting list of great black films, the twist being that they have to have been directed by a black person rather than about the black experience so out go Old Hollywood musicals like Carmen Jones or Cabin in the Sky or Oscar favorites like Sounder.  In the wake of recent conversations about Hollywood's power structures and overwhelming whiteness, Slate assembled a field of critics and filmmakers and scholars to produce the list.

Eve's Bayou

I need to get cracking on my gaps in knowledge from this list, especially because of the titles I've seen from this list several were great and the ones I didn't personally connect to were still interesting (Night Catches Us) or memorable (Eve's Bayou - I've been meaning to give that another shot now that I'm older). Unsurprisingly Spike Lee has the most titles with six. Curiously, though I've seen many Spike Lee joints (and tend to like them - I'd have included Chi-Raq on this list), I've only seen half of his titles that actually made it (gotta get to Mo' Better Blues, Crooklyn, and When the Levees Broke soon). The list is after the jump...

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HBO’s LGBT History: Bessie (2015)

Manuel is working his way through all the LGBT-themed HBO productions.

 Last week we looked at the grim, if necessary, doc Hunted: The War Against Gays In Russia which dove right into the ugly homophobic “hunting gays for sport” pastime which has been legitimized by a Russian government that, ahead of the Sochi Olympics, passed propaganda legislation that made it all but illegal to openly support and advocate for gay rights. This week, we’re turning our eyes to Dee Rees’s Bessie.

It’s a film that’s already been discussed quite a bit around these quarters. Angelica Jade Bastién wrote an in-depth review upon the film's release which, as she reminds us, “wonderfully explores the way black people relate to each other.” Anne Marie looked at it as part of her Women’s Pictures series, singling out the way queerness and blackness dominate the proceedings. I won’t rehearse their arguments because, frankly, I don’t think I could improve on their canny assessments of this ambitious film. Instead, I figure we could use the film to talk about the oppressively whitewashed LGBT representation that even a forward-thinking network like HBO cannot help but replicate.

Just as I was sitting down to write this piece, thinking that perhaps I was setting myself up for the usual cries of “ugh, another diversity article? Why must the PC police continue thumping that tired ass drum?” a mini-tweetstorm kerfuffle was taking place.

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Michael B Jordan is the Big Winner at the Image Awards

Michael B Jordan was top dog at the Annual NAACP Image Awards taking both Outstanding Actor and Entertainer of the Year prizes for his work in Creed, which obviously should have netted him an Oscar nominations (we honored him here). Creed was a big player, too, taking Writing and Directing and Supporting Actress (Phylicia Rashad) prizes only to lose the Outstanding Motion Picture prize to Straight Outta Compton. 

In other curious developments Idris Elba, fresh off a SAG win, lost the Supporting Actor prize to O'Shea Jackson Jr for Compton. As a reminder of the strange nominee list, of the central trio in Compton only Jason Mitchell (who played Easy E) was snubbed, despite being the actor who received the strongest reviews within the film. 

The image awards, now in their 47th year, are kind of an all purpose awards show for black artists so they also honor literature, music, and television. black-ish and Empire were the big television winners and Anthony Anderson hosted the awards show. 

After the cuteness of Gabrielle Union & Keegan-Michael Key, the full list of winners.

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