Joi McMillion lives up to her name on a daily basis — you’ll rarely catch the Oscar-nominated editor with anything less than a smile. As the co-editor of Barry Jenkins’ Moonlight, Joi became the first black woman to be nominated for an Oscar for film editing and the proof is in the process. Joi and longtime friend and colleague Nat Sanders knew Barry from their time at FSU’s film program and have since established a long and successful working relationship together. After working on If Beale Street Could Talk, Joi took on a project she’s never worked on before: a television series on a streaming service.Continue reading “NOC Interview: Joi McMillion, Oscar-Nominated Co-Editor of Barry Jenkins’ ‘The Underground Railroad’”
New York City isn’t the diverse utopia many think it is. If there is any system that shows just how broken things are, it is the city’s police force where “protect and serve” is on a circumstantial based on the color of your skin. This is among the many themes in James Baldwin’s If Beale Street Could Talk, which is in good hands with director Barry Jenkins.
This has been an amazing ten months for Black cinematic culture. We had Beyoncé’s Lemonade in April 2016. Donald Glover’s Atlanta and Ava Duvernay’s Queen Sugar both premiered on September 6, 2016. Luke Cage’s entire season broke the Internet on September 30. Barry Jenkins’s Best Picture Oscar winning Moonlight dropped October 2016. So did Issa Rae’s Insecure. And then the wicked mind of Jordan Peele unleashed Get Out, this past weekend. There were other films, television shows, videos and the like, but damn. Look at this trajectory. It would be so easy to label this a Black Cinematic Renaissance, but I don’t think I want to be that optimistic.
Like many others in this nation, I am still processing the results of election night and coming to acceptance [denial] that we will have Donald Trump as our Commander in Chief starting January 2017.
But what does this mean for the Hollywood entertainment industry, which is known to be overwhelmingly liberal? It is too early to exactly tell what the ramifications are but according to this Hollywood Reporter article, we may have rather troubling times ahead.
Originally published at Just Add Color
The buzz right now is for a film named Moonlight. The film, the second for writer-director Barry Jenkins, tells a haunting tale of a boy named Chiron whose battle throughout life is coming to terms with his identity as a gay black man. That identity is complicated by merciless taunts at school and a home life surrounded by drugs and hard drug dealers.
The film looks like it’ll become one of the most important films of the latter half of 2016 and into 2017, and rightfully so. When popular culture thinks of black men, they often think of them as how they are presented in Moonlight; as gangbangers and drug dealers. But in Moonlight, even those characters — including the main character, who later becomes a drug dealer himself in Atlanta because that’s all he’s known and that’s probably how he feels he can best hide himself and fit in — have a tenderness and humanity that is often denied them by society and, consequently, by other forms of media.