Co-Founder of NO EVIL EYE CINEMA
|Ibrahim Abdulkadir Ibrahim, Abdulrahman Issa Kahin
|News from Home
|Daughters of the Dust
|The Battle of Algiers
|(TIE) The Passion of Joan of Arc & Mother Joan of the Angels
|1928 & 1961 (respectfully)
|Carl Theodor Dreyer & Jerzy Kawalerowicz (respectfully)
|Beyoncé Giselle Knowles-Carter (with Multi Camera Video Director Garry Odom)
Qabyo 2 is the quintessential example of the sequel being better than the original.
Written, directed, and starring a legendary cast of multi-hyphenated Somali artists, this cult classic utilized unconventional filmmaking techniques and kinetic editing into a fascinating interpretation of mise-en-scène that’s become an easily digestible visual grammar for its intended audience.
This bombastic socio-comedic-musical about diaspora and assimilation ushered a new era of national cinema made for and by Somalis.
Daughters of the Dust
What would American independent filmmaking look like today had Dash's 'Dust' been given the appropriate attention it rightfully deserved? Or Wendell B. Harris Jr.’s Chameleon Street (1990), perhaps Cheryl Dunye’s Watermelon Woman (1996), or maybe even Dash's own LA Rebellion sister, Zeinabu irene Davis’ Compensation (1999)?
While we may never know the answer, one thing is certain ... the legacy of 'Dust' has persevered and has rightfully pioneered the last 30something years of Black cinema. Ushering a texturally ethereal audiovisual landscape that deeply understands the vitality of communal filmmaking practices led by thoughtful cinematic practitioners.
Julie Dash is an empress and Daughters of the Dust is her crown jewel.
In an ocean of movie musicals, Funny Girl stands out for one simple reason: Streisand.
William Wyler was once asked by a friend whether Barbra Streisand had been hard to work with. He replied, "No, not too hard, considering it was the first movie she ever directed."
Funny Girl has endured over 50 years of cultural relevance because audiences continue to bear witness to the birth of a singular and solitary superstar. Movies are often great for that simple reason.
Perhaps the perfect encapsulation of Francis Ford Coppola's definition of live cinema which he describes as “composed for the audience while they’re seeing it... movies no longer have to be set in stone and can be interpreted for an audience.”
Beychella = Live Cinema = Live Theater.
Curating film canon(s) has routinely been weaponised as a function of erasure and marginalisation.
It's my sincere hope to be amongst cinematic practitioners who continue to identify and interrogate the obligations of lists/canons in cinephilia, while also finding joy in its creation.
That being said, I wish I could fit Pride & Prejudice (2005) in here but maybe next time :)