New Voices in Black Cinema ’15: David’s Reverie (short)

Dental issues are an occupational hazard for trumpeters. That’s why Louis Armstrong always recommended they develop a singing voice—to save on the chops. Unfortunately, David Johnson has more than his share of health concerns. Just when he starts booking gigs as a bandleader, his resurgent epilepsy threatens to permanently end his career in Neil Creque Williams’ short film David’s Reverie (trailer here), which screens as part of the shorts program at BAM’s 2015 New Voices in Black Cinema.

During the first big club date Johnson books for his band, he collapses on stage. He thought his childhood surgery was supposed to prevent such seizures, but apparently it was not as successful as he hoped. Of course, the attending physician prescribes some medication, but Johnson fears the side effects that dulled his spectacular technique in the past. How much can he risk for the music—and will it be worth it?

Clocking in at about twenty minutes, Reverie is a real jazz drama rather than a narrative that uses jazz trappings for seasoning. Johnson’s arguments with his father about the relative importance of technique versus “feeling” really cuts to the core of jazz. Johnson has tons of Marsalis school chops, but he has yet to find his uniquely expressive voice. Williams has a strong, holistic understanding of the issues and challenges surrounding the music. You have to wonder if he is somehow related to Neal (with an “a”) Creque, the soul jazz organist and keyboard player. Regardless, it is always a good sign when a film has a jazz consultant (Supa Lowery Brothers in this case).

Brandon Fobbs (a former regular on The Wire) is terrific as Johnson. He has the sharp, Wynton-esque “Young Lions” look down cold, but also connects on a deeper level, expressing Johnson’s insecurities and resentments. His scenes with Mark E. Ridley as his musician father and Channing Godfrey Peoples as the band’s saxophonist are as good as anything you’ll see in any award-trolling feature.

Reverie will resonate for anyone who knows someone struggling to make it on the jazz scene. It is a very human and humane film that once again reminds us life is not fair. Highly recommended, David’s Reverie screens this coming Sunday (3/29) at BAM, as part of the New Voices in Black Cinema short film program.

New Voices in Black Cinema ’15: King of Guangzhou (short)

China’s Hukou household registry and rigid residency permit system has turned native born Chinese into illegal economic immigrants within their own country. At least they do not necessarily stand out. Such is not the case for Adede, a Nigerian overstaying his work visa to build a family with his pregnant wife. His desperation makes him ripe for exploitation in Quester Hannah’s short film King of Guangzhou, which screens during the 2015 New Voices in Black Cinema at the BAM Rose Cinemas.

Adede was legal for a considerable time, having duly applied for and received visa extensions. Those days are over. The Guangzhou authorities have launched a get-tough campaign on immigration, routinely denying extensions and aggressively deporting undocumented workers. Unfortunately, it is hard to make the do-the-jobs-Chinese-just-won’t-do argument, when there are scores of rural migrant workers eager for work in the big cities.

However, Adede also has very personal reasons for staying on. He has married Meiling and they have a child on the way. Despite his difficult circumstances, he insists they stay in China, because that is “where the future is.” Maddeningly, he will make some terribly rash decisions in hopes of securing new papers.

It is quite impressive Hannah produced King as a student film pursuant to his studies at NYU, Tisch Asia School of the Arts. After all, this is location shoot in Guangzhou, which has to be tricky under the best of circumstances and even more so when the film addresses a somewhat sensitive topic like immigration. Factoring in the dialogue in multiple languages, King just completely puts to shame the twee indie navel gazers that seem to get the lion’s share of buzz at major festivals (but not here).

There is definitely a street level immediacy to King, but its real power is in its depiction of the central relationship. As Adede and Meiling, Uchenna Onyia and Karen Bee Lin Tan, look and feel like a genuine couple. Their chemistry together is initially quite touching and ultimately rather devastating.

King presents a gritty, unvarnished look at contemporary life in China for the marginalized and dispossessed, while also offering some fine performances. Conceivably, it could be programmed by African American and Asian festivals, as well general interest fests, so it could turn up any number of places, but it is well worth seeing regardless of the venue. Highly recommended, King of Guangzhou screens tomorrow (3/27) with An American Ascent, as part of this year’s New Voices in Black Cinema, at BAM.

New Voices in Black Cinema ’15: An American Ascent

Whether you call it Mount McKinley or Denali, it still lacks the sort of mystique that surrounds Everest or K2, despite its status as the highest point in North America. However, real mountaineers respect anyone who makes a credible attempt at it. Unlike other storied peaks, Denali campaigns cannot rely on Sherpas to do all the heavy lifting. Those attacking it have to earn every step they take. It is therefore a fitting site for the expedition documented in Andrew Adkins & George Potter’s An American Ascent (trailer here), which screens during the 2015 New Voices in Black Cinema at the BAM Rose Cinemas.

On the 100^th anniversary of Mount McKinley’s first summiting (we will use both names interchangeably out of respect for our friends in Ohio and Alaska), a party of nine African American climbers set out to repeat the feat. Aside from the obvious lure of adventure and Denali’s general being there, they also wanted to make a statement. There were frustrated many outdoors sporting and recreational activities were considered “white” things to do. In the long run, many fear support for environmental advocacy will waiver in the African American community, but in the short run, they hope to provide an example for younger, urban school children to consider national parks like Denali part of their heritage as well.

There is a bit of soap-boxing on these issues, but the daily drama of their campaign properly dominates the film. Adkins & Potter nicely establish the personalities of the individual climbers and capture some intense moments. Anyone who has seen any of the recent mountaineering docs (and there have been some good ones) knows you should not consider summiting the determination of success or failure. Nonetheless, there is a fair degree of suspense surrounding this question in Ascent.

Ascent combines a compelling story with good intentions, but it is bizarrely shy when it comes to capitalizing on the stunning vistas visible from Denali. Obviously, such shots look great on-screen, but they also heighten our sense of place. In this respect, Meru, K2, Beyond the Edge, and The Summit are all superior films.

Still, Ascent has its considerable merits, including taking the time to acknowledge trail-blazing African American alpinist Charles Crenchaw. It is solid mountaineering doc, but a bit on the short side at just under seventy minutes, so it is proceeded by the notable short film, King of Guangzhou about a Nigerian migrant worker trying to extend his stay in China. Recommended for outdoors sporting enthusiasts, An American Ascent screens this Friday (3/27) at BAM, as part of this year’s New Voices in Black Cinema.

New Voices in Black Cinema ’15: Ojuju

There is no greater public health crisis than a zombie apocalypse. In this case, it is directly linked to a contaminated water supply, but high population density, unprotected sex, and some wicked strong weed are also contributing factors. Once infection takes hold, it runs like wildfire through a Lagos slum in C.J. “Fiery” Obasi’s Ojuju (trailer here), which screens during the 2015 New Voices in Black Cinema at the BAM Rose Cinemas.

People think Romero (hat tip intentional) is a little strange, because the slacker actually seems to be serious about fulfilling his obligations to his highly pregnant girlfriend, Alero. Nobody is more confused by this then his former hook-up Aisha, but his buddies Emmy and Peju also have a hard time adjusting to his domestic bliss. Alas, it is not to last.

The first victim we see fall prey to the shufflers will be Fela, the local drug dealer, who has been selling some particularly potent product lately. He also samples the wares more than he should, so the strange figure staggering towards him just doesn’t set off the alarm bells it should. Inevitably infected, he and his crony begin the feverish process of transformation, despite the local prostitute’s efforts to care for his mystery illness. Soon, nearly the entire neighborhood except Romero, Emmy, and Peju are part of the shuffling horde. Unfortunately, there are limited egress points for the largely self-contained slum, so getting out of Dodge will be a tricky proposition.

Those who might be expecting the weird Evangelical perspective often reflected in Nollywood films can just forget it. Ojuju will not begrudge its socially disadvantaged characters a little sin while the sinning is good. Everyone tokes up a little to get by, even the incredibly foul-mouthed adolescent known simply as “the Kid.” What really makes the zombie (or ojuju) outbreak so devastating are the hard facts of life in a Nigerian slum. Obasi gives us a vivid sense of what they are like, including the bottleneck exit and the razor wire encircling it.

While Ojuju was obviously shot on a micro-budget, the gritty, low-fi aesthetic nicely suits the zombie genre. Obasi delivers enough gore to mollify genre fans, but the sweaty, claustrophobic vibe is what really generates the mounting dread. He also tacks on a long, almost entirely unrelated coda, but it largely works as a short film in its own right, so just consider it a bonus.

Perhaps Ojuju’s nicest surprise is the ensemble’s professionalism. Ranging from solidly presentable to legitimately polished, they are consistent in a good way, with Gabriel Afolayan and Chidozie Nzeribe particularly intense standouts as Romero and Fela, respectively. Making a virtue of its rough edges, Obasi exceeds expectations for his scrappy upstart zombie film. Recommended for undead fans, Ojuju screens this Friday (3/27) at BAM, as part of this year’s New Voices in Black Cinema.