Highlights from the Blackstar Film Festival

Blackstar celebrates independent black, brown, and indigenous artists from outside the industry, and in many places outside the country. I saw films covering a huge variety of genre and tone, but all resonated with similar themes. They explored the weight of living under colonized rule and the liberation that comes with fierce self-determination. Of the many films I saw, I wanted to pull out 5 that I found particularly engaging. There were many I was not able to get to, but I will be tracking their development to catch them after distribution. It’s going to be difficult waiting months for these films to see wide release, so I urge interested parties to attend this event in the future; with many allowances for virtual attendance, film festivals are more accessible than ever, and you can expose yourself to new visions without having to leave your own home.

The Dawn – Dir. Alicia Mendy, Switzerland/Senegal, 29 mins.

Not far in the future, a parasite infests the waters, spreading madness to any who don’t take their daily medication. What begins as a desperate, grimy fight for survival crescendoes into a vibrant, musical dream. Much of Africa is haunted by war, famine, and disease brought by foreign conquest. The Dawn examines this dynamic. In the film, a people exist under the heel of foreign powers, owing them fealty each day by paying for their medication. As with all things under capitalism, this is only the beginning. The black pills that save you from parasites take your dreams, but an even more expensive pink bill will bring them back. When one man can’t afford his medication, he begins to deteriorate. Hot, thirsty, and exhausted, he makes contact with other dreamers and starts to see a new future for himself and his people. With singular, moving visuals and a narrative dense with meaning, The Dawn is easily my favorite from the festival, and I hope the start of grander projects for director Alicia Mendy.

After the Long Rains – Dir. Damien Hauser, Tanzania, 90 mins.

Terry Gilliam by way of Tanzania, After the Long Rains depicts ten-year-old Aisha chasing small but unachievable dreams. From a small village, her only depiction of the outside world comes through a grainy television set: through the static come American dramas, their snow as foreign as their white actors. Aisha’s first rebellion comes from a demand to become a fisher, traditionally man’s work. In comes Hassan, the good natured but troubled fisher who finds himself inspired by her determination. Their first lesson defies western expectations of productivity: Hassan explains that the best way to be a good fisher is to have patience. Enjoy the simple perfection of nature, and the sound of waves, until the time is right to get what you need (not just anything you can sell). The film is both dreamlike and mundane, providing a measure of hope with a lot of harsh reality on top. A coming of age film with maturity, whimsy, and lush visuals, After the Long Rains is sure to charm as it makes its way around the world.

Enmity Djinn – Dir. Mohamed Echkouna, Mauritania, 19 mins.

Another short, Enmity Djinn examines the conflict between tradition and modernity. Clinging to what her family regards as pointless superstition, an old woman uses her faith to protect her family from a Djinn. Though born of human frailty, that monster finds the modern world one that doesn’t accept it. With both a rivalry and kinship with the family’s grandmother, she and the Djinn struggle to navigate a modernized city that is threatening to leave them both behind. Echkouna used his camera to transcend language, telling us the history of Mauritania with little time and few words. Special mention has to go to costume design, imbuing the Djinn with a dignified, wordless terror.

Family Tree – Dir. Jennifer MacArthur, United States, 97 mins.

Black wealth and black land ownership are tied together, helping to ensure one another but systemically excluded from black Americans. In Family Tree, two families work together to use their North Carolina forestry as a proactive investment, harvesting lumber but caring for the land to sustain their land, ensure a regular income, and fight climate change. Unlocked within this documentary are a people seeking clarity, and how to build a reliable future. The families explore the history of their ancestry and land while learning hard science, responsible family dynamics, and sound financial practice. Standing in sharp contrast from the black family America usually depicts, the subjects of this documentary form a vision of responsible self-determination, and work together to guarantee a better future.

Dallas, 2019 – Dir. Darius Clark Monroe, United States, 155 mins.

In 2019, Dallas feels like it’s sitting just above a precipice. A five part series, this documentary depicts the beating heart of a city filmed just before the pandemic hit. Every documentary is bottling time, but Dallas gives you an intimate picture of a city and its population just before it’s hit by a major upheaval. That circumstance grants the film a special potency, but it would have succeeded on its own merits regardless. Its view is from the standpoint of public officials navigating their daily lives in managing the city and its communities. Their work is crucial, overlooked, and captured marvelously in this film.

The Black Star Film Festival will keep going strong, and I hope to see you there next year. You can expect more film coverage from GamingTrend, and more focus on independent features. If you’re working on something or know someone who is, reach out! Nothing is too small or out of the way!

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