Queer Cinema

These Emmy Winners Made History

Wins by women and people of color broke new ground in Hollywood.

September 18, 2017

Amid the glitz and glam and—of course—political commentary of the 69th annual Primetime Emmy Awards, there was also history making and barrier breaking.

Hulu’s The Handmaid’s Tale and HBO’s Veep were the big winners Sunday night, taking home the coveted prizes for Best Drama Series and Best Comedy Series, respectively. But among the other awards handed out, several wins by women and people of color broke new ground in Hollywood.

Donald Glover became the first black person to win an Emmy for directing a comedy series for his work on FX’s Atlanta. Glover won a second award Sunday night, receiving the nod for Outstanding Lead Actor in a Comedy Series, again for Atlanta. It’s been 32 years since a person of color won in that category.

Lena Waithebecame the first black woman to win a comedy writing Emmy, when she—along with Aziz Ansari—nabbed the statue for Best Writing for a Comedy Series for Netflix’s Master of None. In accepting the award, Waithe delivered a powerful speech, thanking the lesbian, gay, bisexual, transgender, queer, intersex and asexual community.

“I see each and every one of you. The things that make us different, those are our superpowers—every day when you walk out the door and put on your imaginary cape and go out there and conquer the world because the world would not be as beautiful as it is if we weren’t in it,” she said. “And for everybody out there that showed so much love for this episode, thank you for embracing a little Indian boy from South Carolina and a little queer black girl from the South Side of Chicago. We appreciate it more than you could ever know.”

Riz Ahmed, meanwhile, won the award for Outstanding Lead Actor in a Limited Series or Movie for his starring role in The Night Of on HBO. The honor made him the first man of South Asian descent and the second Asian entertainer ever to win an Emmy.

Amid the wins by relative newcomers, television veteran Julia Louis-Dreyfus snagged the statue for Best Actress in a Comedy Series for her portrayal of Selina Meyer on HBO’s Veep. Louis-Dreyfus’s win—her sixth consecutive for Veep—broke Candice Bergen’s record of Emmy wins for a single role (Murphy Brown) and tied Cloris Leachman’s record eight Emmy wins by a single performer.

Meanwhile, other prizes awarded Sunday night broke lengthy Emmy droughts. This Is Us star Sterling Brown, for instance, became the first black actor to win in the Outstanding Lead Actor in a Drama Series category in 19 years. Likewise, Reed Morano, director of The Handmaid’s Tale, was the first woman to win an Emmy for Best Directing in a Drama Series since 1995 when Mimi Leder took home the honor for ER.

The history-making wins of women and people of color on Sunday night are especially notable since Hollywood, in the wake of the #OscarSoWhite controversy, continues to endure criticism for its lack of diversity.

 

SOURCE

Advertisements

Lena Waithe Breaks Down …

…What It’s Really Like to Be a Black Woman in Hollywood

Image via Getty

Earlier this year, Lena Waithe became the first black woman to be nominated for an Emmy for comedy writing for her work on “Thanksgiving,” one of the best and most acclaimed episodes of the last season of Netflix’s Master of None. But Waithe is by no means resting on her laurels. She’s also producing her own series for Showtime called The Chi, has a role in the upcoming Steven Spielberg film Ready Player One, and has been getting Whoopi Goldberg on the phone (okay, that’s an old story).

Waithe sat down for an interview with The Atlantic to talk about her career, the challenge in “selling complex minority characters,” and what her experience has been navigating Hollywood. And in true Lena Waithe fashion, she told it the way it was, giving us some really interesting insight on what it’s like for women of color in entertainment:

Honestly, [I learned about] decorum and the way specifically black women have to carry themselves in this industry. You can’t be pissed about a note, you can’t be angry about the way that something is happening, you can’t be unhappy about the creative process. When you handle it, you have to be Claire Underwood in House of Cards.

In that town, there is still a stigma that goes along with being a woman, particularly a woman of color, where people already want to label you difficult or not easy to work with. It’s happened to me. So we ultimately have to navigate this industry in a different way. We have to sometimes be kind to people who aren’t kind to us, we sometimes have to be polite, even when we’re not in the mood, we have to handle dealing with executives in a different way because otherwise we run the risk of being put in industry jail.

We’ve seen the films and shows. We’ve seen the data. We know for a fact that women of color are immensely underrepresented in entertainment, even though Hollywood is (slowly) waking up to the fact that it’s not the people “in charge” who are creating the culture that people actually want. But hearing what the experience is actually like, and what it takes to keep moving forward, is important and makes the success of women like Ava DuvernayGina Prince-BythewoodShonda Rhimes, and Waithe herself all the more notable.

Read the full interview here.

SOURCE

84 Films By and About Women of Color

… Courtesy of Ava DuVernay and the Good People of Twitter

If you were on Twitter recently, you might have seen
director Ava DuVernay’s clever call to social media to name films with “black,
brown, native or Asian women leads” which were also directed by women.

Though it seems like common sense that these films exist,
the question proved to be a serious challenge for Twitter, with many listing
the same handful of titles.

The clear point is that there are too few films that fit the
above criteria, and that those of us claiming to support diversity in
entertainment should do our part to change that. All of this helps bolster the
case for DuVernay’s AFFRM + Array
Releasing
, which distributes black films and is in the midst of an annual
membership drive.

With efforts like AFFRM, the ACLU’s
push for an investigation into Hollywood’s hiring practices
and other recent
initiatives for the inclusion of women and diverse voices in film, change
appears to be on the horizon.

In the meantime, here’s a list of the films that Twitter
came up with starring women of color and helmed by women directors. When
cross-referenced with data sources from The Black
List
, Shadow
& Act
and others, there were about 85 titles that fit the bill.

Find them below. Watch, enjoy and most importantly, support!

“35 Shots of Rum” by
Claire Denis (2008)

“A Different Image” by
Alile Sharon Larkin (1982)

“A Girl Walks Home Alone at
Night” by Ana Lily Amirpour (2014)

“Advantageous” by
Jennifer Phang (2015)

“Ala Modalaindi” by
Nandini Bv Reddy (2011)

“All About You” by
Christine Swanson (2001)

“Alma’s Rainbow” by
Ayoka Chenzira (1994)

“Appropriate Behavior”
by Desiree Akhavan (2014)

“B For Boy” by Chika
Anadu (2013)

“Bande de Filles/Girlhood”
by Céline Sciamma (2014)

“Belle” by Amma Asante
(2013)

“Bend it Like Beckham”
by Gurinder Chadha (2002)

“Bessie” by Dee Rees
(2015)

“Beyond the Lights” by
Gina Prince-Bythewood (2014)

“Bhaji on the Beach” by
Gurinder Chadha (1993)

“Caramel” by Nadine
Labaki  (2007)

“Circumstance” by Maryam
Keshavarz (2011)

“Civil Brand” by Neema
Barnette (2002)

“Compensation” by
Zeinabu irene Davis (1999)

“Daughters of the Dust”
by Julie Dash (1991)

“Double Happiness ” by
Mina Shum (1994)

“Down in the Delta” by Maya
Angelou (1998)

“Drylongso” by Cauleen
Smith (1988)

“Earth” by Deepa Mehta
(1998)

“Elza” by Mariette
Monpierre (2011)

“Endless Dreams” by
Susan Youssef (2009

“Eve’s Bayou” by Kasi
Lemmons (1997)

“Fire” by Deepa Mehta
(1996)

“Frida” by Julie Taymor
(2002)

“Girl in Progress” by
Patricia Riggen (2012)

“Girlfight” by Karyn
Kusama (2000)

“Habibi Rasak Kharban”
by Susan Youssef (2011)

“Hiss Dokhtarha Faryad
Nemizanand (Hush! Girls Don’t Scream)” by Pouran Derahkandeh (2013)

“Honeytrap” by Rebecca
Johnson (2014)

“I Like It Like That” by
Darnell Martin (1994)

“I Will Follow” by Ava
DuVernay (2010

“In Between Days” by
So-yong Kim (2006)

“Introducing Dorothy
Dandridge” by Martha Coolidge (1999)

“It’s a Wonderful
Afterlife” by Gurinder Chadha (2010)

“Jumpin Jack Flash” by
Penny Marshall (1986)

“Just Another Girl on the
IRT” by Leslie Harris (1992)

“Just Wright” by Sanaa
Hamri (2010)

“Kama Sutra” by Mira
Nair (1996)

“Losing Ground” by
Kathleen Collins (1982)

“Love & Basketball”
by Gina Prince-Bythewood (2000)

“Luck by Chance” by Zoya
Akhtar (2009)

“Mi Vida Loca” by
Allison Anders (1993)

“Middle of Nowhere” by
Ava DuVernay (2012)

“Mississippi Damned” by
Tina Mabry (2009)

“Mississippi Masala” by
Mira Nair (1991)

“Mixing Nia” by Alison
Swan (1998)

“Monsoon Wedding” by Mira
Nair (2001)

“Mosquita y Mari” by
Aurora Guerrero (2012)

“Na-moo-eobs-neun san
(Treeless Mountain)” by So-yong Kim (2008)

“Night Catches Us” by
Tanya Hamilton (2010)

“Pariah” by Dee Rees
(2011)

“Picture Bride” by Kayo
Hatta (1994)

“Rain” by Maria Govan (2008)

“Real Women Have Curves”
by Patricia Cardoso (2002)

“Saving Face” by Alice
Wu (2004)

“Second Coming” by
Debbie Tucker Green (2014)

“Something Necessary” by
Judy Kibinge (2013)

“Something New” by Sanaa
Hamri (2006)

“Still the Water” by
Naomi Kawase  (2014)

“Stranger Inside” by
Cheryl Dunye (2001)

“Sugar Cane Alley/Black Shack
Alley” by Euzhan Palcy (1983)

“The Kite” by Randa
Chahal Sabag (2003)

“The Rich Man’s Wife” by
Amy Holden Jones (1996)

“The Secret Life of
Bees” by Gina Prince-Bythewood (2008)

“The Silence of the
Palace” by Moufida Tlatli (1994)

“The Watermelon Woman”
by Cheryl Dunye (1996)

“The Women of Brewster
Place” by Donna Deitch (1989)

“Their Eyes Were Watching
God” by Darnell Martin (2005)

“Things We Lost in the
Fire” by Susanne Bier  (2007)

“Wadjda” by Haifaa
Al-Mansour (2012)

“Water” by Deepa Mehta
(2005)

“Whale Rider” by Niki
Caro  (2002)

“What’s Cooking?” by
Gurinder Chadha (2000)

“Where Do We Go Now?” by
Nadine Labaki  (2011)

“Whitney” by Angela Bassett
(2015)

“Woman Thou Art Loosed: On
The 7th Day” by Neema Barnette (2012)

“Xiu Xiu: The Sent-Down
Girl” by Joan Chen (1998)

“Yelling to the Sky” by
Victoria Mahoney (2011)

“Young and Wild” by
Marialy Rivas (2012)

What are your favorite films that tell the stories of women of color, which are also directed by women?

jai tiggett is a
writer, content creator and curator. Find her at jaitiggett.com

SOURCE

Black Women as Cultural Deities

A Review of “We Wanted a Revolution: Black Radical Women, 1965–85”

When the Combahee River Collective gathered in 1977 for their annual retreat, the Black feminist thinkers, writers, and scholars decided to write a statement of intentionality. The exclusion of women of color from Lesbian Art and Artists, a feminist art journal organized by the Heresies Collective, prompted the response. The collective’s statement explored the erasure of Black women in the Women’s Movement and the Black Liberation Movement. More importantly, the Combahee River Collective pushed for the visibility of Black women.

“We have spent a great deal of energy delving into the cultural and experiential nature of our oppression out of necessity because none of these matters has ever been looked at before,” the collective concluded. “No one before has ever examined the multilayered texture of Black women’s lives.”

Forty years later, Black women are still fighting to be seen. That’s the theme woven throughout “We Wanted a Revolution: Black Radical Women, 1965–85,” an exhibit currently housed in the Brooklyn Museum. It’s one of the final parts of the museum’s “Year of Yes,” a year-long commitment to exploring feminism through art. The exhibit, like Solange transforming lives at the Guggenheim, allows Black women to center ourselves in spaces that pretend we don’t exist. “We Wanted a Revolution” also serves as a course correction. A sign at the entrance of the eight-panel exhibit states that many of the artists included aren’t feminists because of the movement’s exclusion of Black women. The dovetailing of second-wave feminism and the Black Arts Movement merely serves as a historical map of the figures and organizations at the forefront of the exhibit.

Elizabeth Catlett Malcolm X Speaks for Us

 

 

 

 

 

 

 

 

 

 

 

 

It’s a push to make Black women visible. For instance, Emma Amos, the sole female member of Spiral, a Black artists’ collective, is featured at the beginning of the exhibit. Flower Sniffer (1966) is Amos’ self-portrait, which shows her looking at a couple who are in mid-embrace. She’s in the photo, but not of the world it inhabits, a clear indication of how Black women were positioned at the time. We were peripheral, invisible, and overlooked. Invisibility continues to be a theme as the exhibit progresses. Artist Faith Ringgold is prominently featured throughout the eight-panel exhibit. In 1970, she and her daughter, Michele Wallace, forced the Whitney Museum of American Art to include two Black women artists—Betye Saar and Barbara Chase-Riboud—in their Sculpture Annual for the first time.

Now, the Brooklyn Museum is honoring Ringgold’s struggle for equity. Her oil painting For the Woman’s House (1971) shows an array of women at work. Female inmates at Rikers Island used to be able to purchase the painting, though the jail later banned it. Just as she advocated for Saar and Chase-Riboud, Ringgold created the painting to honor Angela Davis, after she was arrested for a crime she was later acquitted for.

“Angela Davis was in jail at the time, and I was very concerned about her,” Ringgold told the New Yorker in 2010. “I thought, One thing’s for sure: I’ll have a captive audience.”

Audre Lorde and James Baldwin Brooklyn Museum

The ways that Black women have historically fought for each other shows up in the exhibit, like the inclusion of Carrie Mae Weems’ photo series Family Pictures and Stories (1978–1984). It depicts Black people in Portland, Oregon, to combat the 1965 Moynihan Report, which suggested that Black women were responsible for the destruction of Black families. Betye Saar’s Liberation of Aunt Jemima: Cocktail (1973) is also featured. It places Aunt Jemima imagery on a Molotov cocktail as an illusion to the bottling of Black women’s rage. “We Wanted a Revolution” also includes Saar’s Colored Spade (1971), a painful video that shows tropes of Black people transformed into imagery of Black empowerment.

There’s also a glass case full of classic magazine covers and newspaper clippings, like the iconic conversation between Audre Lorde and James Baldwin, a copy of Toni Morrison’s seminal 1971 New York Times Magazine piece, “What the Black Woman Thinks About Women’s Lib,” and a profile of Shirley Chisholm during her historic presidential run. The entire exhibit positions Black women as cultural deities deserving of recognition and respect. We should no longer be invisible when we’re in museums.

Catherine Morris, senior curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, told TIME that was her goal for the exhibit. “An exhibition like this is years in the making, so over the course of producing the exhibition, the pertinence and necessity of it seems to have only increased. It certainly speaks to the need people have to talk about the contributions Black women have made to our culture.”

Our contributions are innumerable, immeasurable, and, certainly, not to be disregarded.

“We Wanted a Revolution: Black Radical Women, 1965–85,” will remain at the Brooklyn Museum until September 17, 2017. It will then move to the California African American Museum in Los Angeles from October 13, 2017 through January 14, 2018; to the Albright-Knox Art Gallery in Buffalo, New York from February 17, 2018 through May 27, 2018; and at the Institute of Contemporary Art/Boston from June 26, 2018 through September 30, 2018.

SOURCE

Black Panther Footage Reveals the Ferocious Female Warriors

…of Wakanda

April 18, 2017 12:13 pm

Update 7:35 E.T.: A Marvel representative reached out to say that the nature of the relationship between Danai Gurira’s Okoye and Florence Kasumba‘s Ayo in Black Panther is not a romantic one and that specific love storyline from the comic World of Wakanda was not used as a source.

Whether or not he had the approval of Disney when he did so, Beauty and the Beast director Bill Condon caused quite a stir in the April issue of Attitude—both of hopeful expectations and of conservative pushback—when he touted Josh Gad’s character LeFou and his “exclusively gay moment.” Though Condon surely had his heart in the right place, the phrase overpromised on what the film ultimately underdelivered: the moment comes when LeFou ends the movie by dancing, briefly with a man. O.K. However, early footage of Marvel’s upcoming Black Panther screened for journalists Monday night movie promises much more.

The scene in question features Walking Dead star Danai Gurira dancing on a boat with her fellow Dora Milaje, i.e., Black Panther’s personal female bodyguards. These women—first introduced to moviegoers in Captain America: Civil War— are the warriors who watch over Chadwick Boseman’s royal family. In Civil War, Uganda-born actress Florence Kasumba made an instant impression on audiences as one member of the select group when she curtly ordered Scarlett Johansson’s Black Widow to “move” aside for T’Challa.

In the rough cut of this Black Panther scene, we see Gurira’s Okoye and Kasumba’s Ayo swaying rhythmically back in formation with the rest of their team. Okoye eyes Ayo flirtatiously for a long time as the camera pans in on them. Eventually, she says, appreciatively and appraisingly, “You look good.” Ayo responds in kind. Okoye grins and replies, “I know.”

This quick moment between two warrior women on their way to T’Challa’s coronation leans into a current very popular run of the Black Panther comic. A 2016 spin-off called World of Wakanda by Ta-Nehisi Coates, Roxane Gay, and Yona Harvey is all about the relationship between two members of the Dora Milaje. The official description:

A Wakandan love story—its tenderness matched only by its brutality.

You know them now as The Midnight Angels, but in this story they are

just Ayo and Aneka, young women recruited to become Dora Milaje, an

elite task force trained to protect the crown at all costs. What happens when your nation needs your hearts

and minds, but you already gave them to each other?

Other footage from the film screened early for reporters centers more closely on T’Challa, including scenes of a traditional and elaborate Wakandan ceremony, and a shoot-out in a South Korea casino featuring Andy Serkis’s Claw and Martin Freeman’s Everett K. Ross. For fans of Lupita Nyong’o, there was also a pair of scenes showing her character dancing (she gets her own boat) and taking out several armed guards.

The costumes in Black Panther—especially the ones worn by the Dora Milaje—are truly dazzling, with a lot of bright colors and elaborate patterns. Angela Bassett, as T’Challa’s mother and Queen of Wakanda, sports a jaw-dropping coiffure of snow-white dreadlocks. According to the production team, director Ryan Coogler was interested in giving Black Panther—the star of which debuted in Civil War—an updated look that was more faithful to the current run of comics. And though Marvel didn’t screen any footage of Michael B. Jordan in costume—he’s playing villainous Erik Killmonger—concept art tacked to the Marvel office walls revealed a fearsome mask compete with horns and mane.

In other words: even if Marvel and superhero fatigue is setting in, rest assured that Black Panther isn’t going to look like anything you’ve seen from them before.

Full Screen

16

See the Tony-Nominated Costumes from Eclipsed and the Sketches that Inspired Them

Photo: Left, courtesy of Clint Ramos; Right, courtesy of Joan Marcus.

5 Black Women To Watch In Hollywood In 2017

Be on the lookout for these glow-ups.

Black Voices’ associate editor Taryn Finley and senior culture writer Zeba Blay sat down with Murray, who was also joined by Buzzfeed entertainment reporter Sylvia Obell, to share her perspective as an entertainment insider.

Here are five women Murray said should be on your list of Hollywood up-and-comers to watch in 2017:

1. Gina Prince-Bythewood

Nicholas Hunt via Getty Images
Prince-Bythewood will be co-directing “Shots Fired” with husband Reggie Bythewood.

Best known for her 2000 romance film “Love and Basketball,” starring Sanaa Lathan, Gina Prince-Bythewood is no Hollywood newbie. Prince-Bythewood will be directing the upcoming fictional Fox series “Shots Fired,” which is centered on police brutality in South Carolina. Lathan will also star in the series.

2. Dee Rees

Maarten de Boer via Getty Images
Rees also directed the film “Pariah,” about a young, black lesbian struggling with her identity in Brooklyn.

In a $12.5 million deal, Netflix recently bought director Dee Rees’ critically acclaimed film “Mudbound.” The film, which follows soldiers returning home from WWII, stars Carey Mulligan, Jason Mitchell and Mary J. Blige.

3. Stella Meghie

Earl Gibson III via Getty Images
Meghie’s directorial debut “Jean of the Joneses“ premiered last year.

Stella Meghie’s name may not ring a bell just yet, but the Toronto native may soon be at the center of Hollywood’s attention when romance film “Everything, Everything,” starring Amandla Stenberg, is released this May.

4. Jessica Williams

Mike Coppola via Getty Images
Williams spoke at the Women’s March on Sundance earlier this year.

Former “Daily Show” correspondent Jessica Williams should have been on your radar yesterday. One half of the “2 Dope Queens” podcast, Williams will be starring in Netflix’s “The Incredible Jessica James,” about a young playwright living in New York City.

5. Yvonne Orji

Rodin Eckenroth via Getty Images
Issa Rae and Orji gained everyone’s affection IRL when a photo of them sharing excitement over the Golden Globes nomination for “Insecure” while in their headscarves made its rounds on the internet.

Yvonne Orji is everybody’s bestie as Molly in “Insecure.” But Orji really won our hearts with her realness when she opened up to “The Breakfast Club” in November about being a virgin at 32 years old and having experienced bullying when she was younger.

Look out, Hollywood. All this black excellence ain’t here to play.

SOURCE

“Bruising for Besos”

“Bruising for Besos” looks at an abusive lesbian relationship

on June 17, 2016

If you’ve watched more than just “the classics,” you know that some lesbian films need a minute or 20 to find their groove. That’s certainly the case for new film Bruising for Besos, the first feature-length effort from writer-director Adelina Anthony, who also stars in the movie. If for nothing else, you should consider watching this film for what makes it unique: the LA Latina lesbians at its center, and its willingness to tackle domestic violence in the lesbian community.

Anthony plays Yoli, a butch Xicana lesbian who’s as playful with her art as she is with her women. She may not be the best girlfriend, but she is a good friend. Lucky for her, because it’s at her surprise birthday party that she meets and falls for Daña (Carolyn Zeller), an intriguing Puerto Rican nurse. But Daña’s heard of Yoli’s reputation and she’s not having any of it. At first.

While Yoli comes off very strong with the flirting (like really laying it on thick), eventually she does wear Daña down. After an intense car makeout session that a cop interrupts (ugh, buzzkill!), they end up in bed together, as they will multiple times throughout the film. This definitely isn’t a movie that shies away from passionate lesbian sex scenes, even if they don’t necessarily move the story forward. Hey, I’m not complaining!

Their chemistry aside, after their first night together, Daña panics. It turns out she’s really religious and has a lot of issues around shame. Yet for some reason, she thinks she and Yoli can just be friends. Yoli’s willing to go along with idea, no doubt because she thinks she can change Daña’s mind. And she doesat least momentarily.

By this point, Yoli is falling for Daña, but she hasn’t completely lost her old ways. For instance, there’s her hot new coworker who constantly flirts with her, her ex who’s still somewhat in the picture and the woman her friends actually wanted to set her up with at the party. The most complicated of all, however, has got to be Carmela (Natalie Camunas), girlfriend to her best friend, Rani (performance artist D’Lo), and a former flame of hers.

Yoli’s just a complicated person in general, though, which is absolutely understandable given her history. She spent most of her early years in an abusive household, having lived with a father who beat and cheated on her mom. Several of these memories are recreated in the film through Yoli’s puppets, which she’s working on for a competition. But for the audience, they serve a much more important role: they’re a view into a past Yoli is trying to but can’t run away from.

Daña has her own daddy issues, but they’re very different. Her dad’s always been deaf and has long since had a rough go at things. Now older, he has some serious health problems. As a result, Daña’s even more reluctant to come out because of everything he’s been through.

Still, that doesn’t stop her from admitting she’s falling in love with Yoli, or Yoli from doing the same. But there’s a lot of insecurity and jealousy there from both sides and things do eventually come to a head.

When Daña’s dad has another health scare and she gets distant, Yoli goes to her, only to find a male nurse at the house. She confronts her somewhat aggressively in tone, but it’s Daña who hits her. In an instant, all that family history races through Yoli’s mind.

Are there apologies? Of course there are. Is the violence only physical? Of course it’s not. Theirs is a volatile relationship, not all that unlike many in our communities. The difference is Bruising for Besos dares to talk about it.

Now, who’s willing to listen?

https://player.vimeo.com/video/171123688

Bruising for Besos plays at Frameline in San Francisco on June 19 and 21 and at Outfest in Los Angeles on July 16. Visit the movie’s Facebook page to keep up with future screening news.

Source – AfterEllen

%d bloggers like this: