In The Overlook, A.V. Club film critic Ignatiy Vishnevetsky examines the misfits, underappreciated gems, and underseen classics of film history.
“I want the racists to talk like racists. For a film on robbery, I’d ask someone to steal. But even if it’s a fake theft, I’d be an accomplice, even if I’m filming.”
—Jean Rouch, La Pyramide Humaine
How many white filmmakers have actually addressed the nitty-gritty, insidious social constructions of race and racism? France has produced two important ones. The one who is better known now is Claire Denis, who grew up in Africa in the 1950s and 1960s as the daughter of a French civil servant, moving around present-day Cameroon, Ivory Coast, Burkina Faso, Senegal, Somalia, and Djibouti. (I wrote about No Fear, No Die, her excellent existentialist noir about two black immigrants who go to work for a cockfighting ring in a...
“I want the racists to talk like racists. For a film on robbery, I’d ask someone to steal. But even if it’s a fake theft, I’d be an accomplice, even if I’m filming.”
—Jean Rouch, La Pyramide Humaine
How many white filmmakers have actually addressed the nitty-gritty, insidious social constructions of race and racism? France has produced two important ones. The one who is better known now is Claire Denis, who grew up in Africa in the 1950s and 1960s as the daughter of a French civil servant, moving around present-day Cameroon, Ivory Coast, Burkina Faso, Senegal, Somalia, and Djibouti. (I wrote about No Fear, No Die, her excellent existentialist noir about two black immigrants who go to work for a cockfighting ring in a...
- 5/9/2017
- by Ignatiy Vishnevetsky
- avclub.com
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