ScreenFish

where faith and film are intertwined

Black Lives Matter

Finding Kendrick Johnson – A life that matters

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“My baby’s life matters.”

Unless we choose willful ignorance, we should all know that Black people in America have faced violence for a very long time. Sometimes that has happened at the hands of police. Sometimes it has happened in lynchings. But we need to remember that those who experience such events are individuals—someone’s friend or child. Finding Kendrick Johnson puts a face on one such death that has failed to find any closure of justice. Director Jason Pollock earlier told the story of Michael Brown who was killed in Ferguson, Missouri in Stranger Fruit. Like that film, Finding Kendrick Johnson gives us the story of this death mainly through the eyes of the family.

Seventeen year old Kendrick Johnson’s body was found rolled up in a gym mat at his high school in Valdosta. Georgia. After a four year investigation, no one has been charged in the killing. In fact, the initial findings were that his death was accidental. This film looks at the facts of the case that makes such a finding seem ludicrous. The US Justice Department sent investigators because two persons of interest in the case were sons of an FBI agent. As we see the evidence we sense there could well be a deep cover-up in the case. One of the DOJ investigators tells of how shocked he was that no charges were ever made. A forensic pathologist hired by the family is deeply critical of the handling of the case by the local medical examiners (who somehow lost the body’s organs).

All of this is put into context with a history of lynching of black people. Is that an apt issue to bring into the film? That is up to each viewer to decide. I can easily imagine scenarios with the facts of the film that would qualify this as a lynching. But I can also imagine scenarios that wouldn’t qualify a definition of lynching. But to be sure, because this involves a black man, such a possibility needs to be considered.

Even more important is the evidence that this case was not initially treated as important. We are asked to consider if the body had been of a white student, if the investigation would have been the same. The systemic racism that can lead to the victim’s race making a case more or less important is a key part of this film. The fact that his family had to go great lengths to try to get answers speaks to a system that may not be interested in justice for all people.

It is important that I watched and reacted to this film as a white person. I would expect that a Black person might well have a much different experience of the film. It is not that I’m skeptical of the film’s facts. What happened to Kendrick Johnson was terrible. What happened to his family is heartbreaking. That so many errors were made (either intentionally or through incompetence) adds to the tragedy in the lack of closure for those involved. But I’m not sure I can make the same implied conclusions that the film makes. That could well be tied to my White experience of the world. That understanding could create blind spots for me as I watch the film.

Finding Kendrick Johnson is showing in select theaters.

Photos courtesy of Gravitas Films.

Academy Awards 2021: Boseman Loss Shows Why We Still Do (and Don’t) Need the Oscars

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It wasn’t supposed to go like that.

After unexpectedly re-arranging the schedule to push Best Picture up and let the acting categories shine, the Academy clearly wanted to send a message. With the foregone conclusion that Chadwick Boseman would posthumously take Best Actor for his work in Ma Rainey’s Black Bottom, it was going to definitively celebrate a young man who was taken from us far too soon after losing his battle with cancer last year. 

An African-American man. 

Black Panther.

The significance of the moment was going to be a victory to end that night that would be both emotional and satisfying. After all, at a moment when Black culture is looking for heroes, a Chadwick victory would have been a symbolic statement in honour of a young man who had become a beacon of hope for many, sending viewers home with a truly feel-good moment.

Well, we all know how that went.

After Phoenix announced Anthony Hopkins as Best Actor to close out the show, the shock was palpable. The room was fairly quiet. Phoenix had to fumble through an awkward acceptance on Hopkins behalf as he was the only nominee not available. Of course, Twitter erupted. (In some ways, you almost feel bad for Hopkins. At home in Wales, even HE didn’t think he was going to win. If I were him, I likely would have slept through the ceremony as well.)

In a moment that felt like the reverse of the La La Land/Moonlight fiasco of a few years ago, the ‘feel-good’ finale completely backfired.

Within seconds, people took to their social media and responded accordingly. Outrage! Fury! Cancel! The response was completely understandable—and expected. After all, around this time, it’s almost tradition for people to take to the inter-webs to complain about the Oscars and the choices that they proclaim are ‘Best’. People decry from the rooftops that the films the Academy selects show their irrelevancy (and, sometimes, that’s a totally fair complaint). Comments like ‘this is why I don’t care about the Oscars’ flood social media with tsunami-like force.

But the irony is that same blow-up on the Twitter-verse shows that people still do care.

While people may either be happy or furious, the fact that the reactions to these awards are so strong suggests that there’s still an interest in the results. For over 90 years, the Academy Awards have been the ‘standard’ by which success in the industry has been measured. To win an Oscar is considered one of the highest honours in the industry and, even though culture has changed a lot in recent years (and continues to do so), there remains a respect for that golden statue that continues to endure. To win an Oscar still says something. 

They matter because they matter to us.

The reason people were upset about Chadwick losing the award is not because Hopkins didn’t deserve it but rather that it meant something to them. Hopkins turned in the performance of the lifetime in the role but a Chadwick victory would have felt not only poignant but powerful. With his career still reaching his potential before his death, Chadwick still felt like someone that people could relate to, especially amongst the Black community. A win for him seemed like it would have felt like another win for them.

And it might have.

But, if the awards truly didn’t matter to anyone outside the industry, no one would have cared. There would have been no outcry or frustration. It would have simply passed on from the cultural zeitgeist and landed on the entertainment pages… not the front page… 

The problem may be that we’ve given too much credibility to the Academy. Though filled with over 1000 industry professionals, with this responsibility comes the expectation that it will represent the values of the people and the time. The truth is that they don’t always. Yes, they strive for representation and want to speak the voice of a culture. That’s why these films matter as much as Marvel films or alien invasions. They connect with a heartbeat that speaks the cries of our world.

But they don’t always speak for you and I. How could they?

With this in mind, the loss by Chadwick shows that, maybe, we don’t need the Oscars to play the same role in our culture. The truth is that, while considered the highest heights of the industry, the loss to Hopkins does not take away from his performance (or career) in any way. So many of history’s best films and performances were never recognized by the Academy. Citizen Kane, Raging Bull, Do The Right Thing, Pulp Fiction and innumerable others were robbed of ‘Oscar glory’ yet remain the most influential films of the last century. (And let’s not forget Delroy Lindo from the list of snubs this year…)

Regardless of who the Academy chooses to take home the gold, Chadwick Boseman will be remembered.

He matters. And he’s as important as he was yesterday.

I admit it. I love the Oscars. I love the pageantry, the music and the speeches. Unlike many, I love the fact that winners use the platform to speak their hearts about issues that matter to them. (I mean, they’ve been given a voice. They should use it.) I even love my Oscar pool with friends.

Ultimately though, they don’t determine which films or performances matter most. Only the ones that mattered to these people. That’s why it doesn’t really matter in the end if Boseman posthumously took home the gold. His performance in Ma Rainey’s was a thing of brilliance and it will be remembered. (In fact, it should be remembered.) This year’s Oscars may have been the most diverse in the Academy’s history. Chloe Zhao. Daniel Kaluuya. Yuh-Jung Yoon. H.E.R. Soul. Jon Batiste. All of these winners from last night show that things are changing. This was not #OscarsSoWhite, even if it did feel like #OscarsSoWrong.

The loss by Boseman doesn’t change any of this… but it’s all anyone’s talking about.

Yes, it would have made an amazing story to see him cap off his young but incredible career with a win. It would have been an emotional moment for us all. But there’s a reason that they announce the winner by saying ‘the Oscar goes to…’ They don’t want the other nominees to feel as though they are someone lesser than the others.

Because they aren’t. Not Riz Ahmed. Not Boseman. None of them, regardless of category. They all achieved something great with their cinematic achievements. And, like Chadwick’s performance, their work lives on. 

The Academy knows that. We may have forgotten it.

Message received.

Chauvin Verdict Reaction; Race & Policing

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Derek Chauvin is found guilty of murdering George Floyd. In this episode of the Your Sunday Drive podcast, we talk about the trial, the verdict and the related issues: race, racism and justice in America; the influence of politics and media; policing and how race is related; what this event could mean for the future.

Most importantly, we try to approach the topic from a Christian perspective, asking how we might respond to and participate in this moment of change.

Come along for Your Sunday Drive – quick conversation about current events, politics, pop culture and more, from the perspective of a couple of guys trying to follow Jesus.

Hosts: Matt Hill and Nate Polzin. Presented by the Church in Drive of Saginaw, MI, as often as possible. Please visit churchindrive.com and facebook.com/thechurchindrive

A Look at the Oscar® Nominated Live Action Shorts

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When it is time to award the best in films each year, the Academy of Motion Pictures Arts and Sciences include three categories of short films in their Oscar ® presentations. Most people don’t get to see many shorts. They play at festivals, and occasionally in front of a feature film. But short films are an art form worth attention. Many (probably most) feature filmmakers started out making short films. To tell a story in such a brief format takes skill. All the Oscar-nominated short films will be playing in theaters and on virtual cinema in special programs.

Let’s take a look at the Oscar ® nominated live action shorts.

Feeling Through (19 minutes, directed by Doug Roland). Tereek, a homeless teen helps Walter, a blind-deaf man (played by a deaf-blind actor), find his bus to get home. He learns to see the man as more than a problem, and also gets perspective on his own trials.  This is a very moving story. In just a few minutes of screen time, we see tremendous growth in Tereek’s character. For him this is truly a life changing experience.

The Letter Room (33 minutes, directed by Elvira Lind). When a sensitive prison guard gets transferred to the mail room, his job is to read all the incoming and outgoing mail. He is enthralled with the very personal letters sent to a death row inmate. But perhaps the reality is less than he imagines. Nice performance from Oscar Isaac as a man who strives to be kind, even in an unkind environment.

The Present (25 minutes, directed by Farah Nabulsi). This Palestinian film is the story of a man who sets off with his daughter to go into town to buy an anniversary gift for his wife. The way is complicated by checkpoints, hostile Israeli soldiers, and segregated highways. It becomes a trial by humiliation. Can the man get the gift home and still maintain his stature in the eyes of his daughter? This look at life within the occupied Palestinian territories shows some of the injustice that people must face, with no real rights or power. The Present is currently streaming on Netflix.

Two Distant Strangers (29 minutes, directed by Travon Free and Martin Desmond Roe). When a man wakes up in his girlfriend’s apartment, he sets off home to take care of his dog. But when he runs into trouble with a racist policeman, it ends tragically. Then he wakes up again…. This is something of a Black Lives Matter version of Groundhog Day. There are lots of different scenarios, but it always ends in the police killing of a black man.

White Eye (20 minutes, directed by Tomer Shushan). In Israel, a man finds his bike stolen weeks ago. It now belongs to a Somalian immigrant who bought it at bus station. When the police get involved it becomes far more complicated than the man wanted. The film moves from being about what rights a person might have to what is the right thing to do in a difficult setting.

My favorites among these are Feeling Through,because it brings hope out of darkness in a touchingly human way; and Two Distant Strangers, for the way it uses the time loop trope to emphasize the way the killing of black people seems be something we wake up to anew each day.

To see where you can see these shorts, go to https://shorts.tv/theoscarshorts/

A Look at Oscar® Nominated Short Documentaries

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When it is time to award the best in films each year, the Academy of Motion Pictures Arts and Sciences include three categories of short films in their Oscar® presentations. Most people don’t get to see many shorts. They play at festivals, and occasionally in front of a feature film. But short films are an art form worth attention. Many (probably most) feature filmmakers started out making short films. To tell a story in such a brief format takes skill. All the Oscar®-nominated short films will be playing in theaters and on virtual cinema in special programs.

Let’s take a look at the Oscar®-nominated short documentaries

Colette (25 minutes, directed by Anthony Giacchino). At 90 years old, Colette is one of the last remaining veterans of the French Resistance. She has never, in the years since the war, stepped foot in Germany. Now, with a young researcher, she is going to the Concentration Camp where her brother died. It is an emotional trip for both women. It makes the story of the Resistance and of her brother very personal.

A Concerto Is a Conversation (13 minutes, directed by Kris Bowers and Ben Proudfoot). Kris Bowers is a rising star among Hollywood composers. But he sometimes wonders, as an African American if he is “supposed to be in the spaces that I’m in.” As he talks with his grandfather, he hears of growing up in the Jim Crow south, and finding a way to a better life in Los Angeles, which shaped the family Bowers was born into. This is a bit of a celebration of family, and especially the bond between Bowers and his grandfather.

Do Not Split (35 minutes, directed by Anders Hammer). In the spring of 2019, when the Chinese government proposed extraditing Hong Kong people to China, protests began. By September (when the documentary joins the protests) these protests had gotten very large and filled with violence, by both protesters and police. This film takes us into those protests. It shows us the passion of the young people involved. But we really don’t get a lot of context to fully understand all the issues that come into play.

Hunger Ward (40 Minutes, directed by Skye Fitzgerald). In Yemen, war and famine have resulted in large numbers of children starving. This is a look into two clinics and the doctors who are trying to save the lives of these children. The film is a brutal experience—not because of violence, but because of the near hopelessness of the situation. Viewers should know they have to steal themselves for some of these scenes, which include children dying. It’s also important to note that the US is a key supporter and supplier of the Saudis who have blocked aid from reaching Yemen.

A Love Song for Latasha (19 minutes, directed by Sophia Nahli Allison). “Say her name” has become an important phrase in our culture as we remember the deaths of African Americans needlessly killed. Fifteen year old Latasha Harlins, was killed trying to buy Orange Juice. That event became a focal point in the 1992 Los Angeles uprising. This film, related by a cousin and a friend of Latasha does more than say her name. It tells of a life. It is not about a victim, but about what has been lost.

My favorite among these is A Concerto Is a Conversation. It points to the struggle people have endured, but also shows a bit of hope that we can do better. I hesitated to call Hunger Ward a “favorite”, because it is very difficult to watch. But it is a powerful and important story that much of the world is overlooking.

To see trailers or to find where you can see these shorts, go to https://shorts.tv/theoscarshorts/

Judas and the Black Messiah: The Struggle is Real

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“You can murder a freedom fighter but you can’t murder freedom.” – Fred Hammond (Daniel Kaluuya, Judas and the Black Messiah)

Set in the midst of the civil rights movement of the late 1960s, Judas and the Black Messiah tells the true story of William O’Neal (Lakeith Stanfield), a young thief arrested for stealing a car. Facing serious prison time, O’Neal is offered a plea deal by the FBI on the condition that he would be willing to operate as an informant in the Illinois chapter of the Black Panther party. Reluctantly accepting the role, O’Neal enlists with the Panthers where he meets their magnetic Chairman Fred Hampton (Daniel Kaluuya). As he moves higher up in the party’s ranks, O’Neal becomes increasingly torn between supporting a leader for whom he has gained respect and the FBI who continues to press him for information so they can bring Hampton down.

Though over fifty years ago, it goes without saying that the film has never felt more current. Coming at a time where police brutality and racial injustice are daily topics of conversation, the story of Fred Hampton resonates loudly within our current cultural climate. As the first major film from director Shaka King, Black Messiah tells the story of Hampton and O’Neal with focus and heat. Compelling from start to finish, King weaves a story that manages to portray the urgency of an era without being afraid to draw comparisons to today’s struggles for equality as well.

Featuring incredible performances from its entire cast, the film is anchored by its two primary stars. As the nervous outsider O’Neal, Stanfield brings the character to life as a man conflicted by his decisions. Though O’Neal’s actions are questionable at best, Stanfield shows grace to in his performance by portraying him as a man crushed under the weight of his own burdens. However, while Stanfield’s work is particularly solid, the film is stolen by Kaluuya who continues to display his talent and maturity as an actor. As the charismatic Hampton, Kaluuya fully invests his energy and charm into every scene. Whether he’s motivating the crowds or speaking softly to his loved ones, Kaluuya brings an intensity and fire to the role that is positively mesmerizing to watch onscreen and should be recognized as Oscar season draws nearer.

In many ways, it is appropriate that the film uses the title Judas and the Black Messiah. While the film never uses these nicknames throughout the film, Black Messiah absolutely takes on the structure of the Biblical narrative of Jesus and his betrayal at the hands of one of his disciples. Though history has often emphasized the violence of the era, this film portrays Hampton as a loving revolutionary who fights for the rights of all of the oppressed. Though absolutely prepared to engage in the fight where necessary, Black Messiah makes sure to point out that Hampton’s battle against the powers that be stems from a place of love. To him, the struggle for freedom is far larger than himself and he is willing to sacrifice whatever is necessary, even if he must put himself harm’s way in the process. (For example, when his followers attempt to hide him from danger, Hampton defiantly asks “Is the party about me or is it about the people?”)

However, rather than merely deify Hampton and his work, this is a narrative that wants the audience to feel the weight of the story from the perspective of its ‘Judas’, William O’Neal. Caught between the FBI and the Panthers, O’Neal is a man torn between his own well-being and the good of the many. In this way, Black Messiah recognizes the importance of Hampton’s message yet also remains sympathetic to O’Neal’s struggle along the way. Whereas following Hampton may have made the story about one man’s struggle, Black Messiah’s focus on O’Neal’s journey allows for the story to emphasize the struggle itself. In other words, the shift in perspective allows the film to become less about the life of a single person and more about deciding who you will follow in the midst of an ongoing war for justice. 

In light of this, it’s interesting to note that the film ends with footage of the real-life O’Neal who states that he ‘chose a side’. Though clearly worn down by the weight of his decisions, his self-justification instead focuses on the fact that he took a position in the fight rather than simply sitting on the sidelines. In this way, O’Neal’s choice mirrors the message of Black Messiah by calling viewers to understand that they must still make decisions today about where they stand on issues of racial injustice. (After all, a person who chooses to stand with no particular ‘side’ is still making a choice.) While it may be sympathetic towards O’Neal, King’s script contains an urgency that reminds the viewer of the importance of choosing justice in the face of a culture that fights to hold on to the status quo.

With its eyes firmly focused on freedom for all, Judas and the Black Messiah is a film that stays with you long after the credits roll. Featuring stellar work from its cast, the true power of Black Messiah though lies not the story of one man’s sacrifices for the sake of others but by the reality that the same fight still rages on to this day.

Judas and the Black Messiah is available in theaters, on PVOD and on HBOMax on Friday, February 12th, 2021

Ma Rainey’s Black Bottom: The Power of Money and Music

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Ma Rainey’s Black Bottom (2020): Viola Davis as Ma Rainey. Cr. David Lee / Netflix

Like creating great music, it’s important that every member of a film’s cast is on the same page.

Thankfully, in the case of Ma Rainey’s Black Bottom, the cast are not only in sync with one another. They’re in perfect harmony.

Set in 1920s Chicago, Ma Rainey’s Black Bottom takes place over the course of an afternoon as legendary ‘Mother of the Blues’ Ma Rainey (Viola Davis) and her band gather to record one of her latest hits. As temperatures rise, so too do tensions as Ma attempts to wrestle control of her music away from her white manager and producer. Within the band itself, conversations revolve around the ambitious and impetuous Levee (Chadwick Boseman), a trumpeter with dreams recording his unique style of music with the hopes of claiming fame for himself. However, as Levee’s visions of success cause disruptions amongst his bandmates, he also finds himself reliving some of the traumas that have so far defined his young life.

MA RAINEY’S BLACK BOTTOM (2020) Chadwick Boseman as Levee. Cr. David Lee/NETFLIX

Based on the play of the same name, Ma Rainey’s Black Bottom is a brilliantly and passionate performed film that begins with a song but ends with a power struggle. Directed by Tony award-winning playwright George C. Wolfe (Angels in America: Millenium Approaching), the film’s limited sets and dialogue-heavy scenes help it maintain the intimacy and energy of a Broadway play. Though not all dramatic adaptations adapt well onscreen, Wolfe brings the film to life by rightly letting its characters and their interactions remain the focus of the story. 

Though the entire cast does a remarkable job within the film, Ma Rainey’s quickly becomes an acting masterclass from two truly talented artists in Davis and Boseman. In one of her finest performances in recent years, Davis thunders around the room as the no-nonsense Rainey, taking no prisoners yet also demonstrating a subtle nervousness underneath her hardened exterior. 

Not to be outdone, Boseman’s work here is simply stunning as the confident and cocky Levee. Whether he’s showing off his new shoes or railing against his bandmates on issues of race or faith, Boseman emotionally invests himself into every moment of his performance with enthusiasm and vigor. As his final performance, his work here is truly an incredible send-off that showcases the immense talent that was lost with his passing.

Ma Rainey’s Black Bottom (2020): Viola Davis as Ma Rainey. Cr. David Lee / Netflix

Though the film is set in 1927, Ma Rainey’s couldn’t feel more relevant. At a time when racial injustice is a daily topic of conversation, this visceral tale about the imbalances of power feels both honest and necessary. In this film, money and race are in constant competition with one another for the seat of dominance. For instance, as their ‘most important artist’, Rainey runs the show, keeping her agent hopping with various needs in order to ensure that she and her band are happy. However, when she’s not around, the studio’s white producer maintains control, haggling over wages and dictating how the band will play their music. This tension is illustrated beautifully through the film’s sets as characters jockey for physical positions of power on staircases and various levels. (Incidentally, it’s also worth noting that the band members are only brought upstairs from the basement when Rainey arrives.)

However, there’s much more at stake here than ice cold coke bottles or dollar signs. This back-and-forth racial conflict points to a battle for the soul of a culture, primarily through its music. As Rainey insists on performing her way, her producer pleads with her to increase the tempo in order to reach a wider (read: whiter) audience. Building like a crescendo, small arguments about musical style and texture build furiously towards larger discussions about ownership that reveal the true issues of power at stake. (In fact, even Rainey knows that her hold over her white producers is tenuous, claiming that they’re only willing to help her because of the financial potential of her voice as opposed to genuine care.)

MA RAINEY’S BLACK BOTTOM (2020) Chadwick Boseman as Levee. Cr. David Lee/NETFLIX

Caught in the middle of this wrestling match is the young and ambitious Levee, who insists that he can create his own music while still appeasing white culture in the process. Believing that he can manipulate the system in his favor, Levee repeatedly attempts to show the value of his work yet is unable to find support from either the white producers who promised him fame or his own African-American bandmates. Unfortunately, with each roadblock that he encounters, the energetic Levee has greater difficulty battling the seething rage that bubbles underneath his smiling and optimistic exterior until he can no longer contain himself. Like the music that he longs to play, Levee’s journey points to a generation of African American youth that want desperately to have a seat at the table but ultimately find themselves at the mercy of a predominantly white culture that fails to appreciate the importance of their story.

Anchored by incredible work from Davis and Boseman, Ma Rainey’s Black Bottom demands attention. By allowing the performances to take centre stage, Wolfe wisely steps back and gives his cast the freedom they need to make stunning music together onscreen. Playing off of each other like fine jazz, Boseman, Davis and the rest of this cast are note-perfect together in a story that reminds us that the power of music lies in its voice.

Ma Rainey’s Black Bottom is available on Netflix+ on December 18th, 2020.

TIFF20: Black Bodies

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Directed by Kelly Fyffe-Marshall, Black Bodies is a short film on what it currently means to be black in America. Told through spoken word, the viewer experiences the major issues affecting the black community as a result of centuries of systemic discrimination, including police brutality and the disadvantages they have solely based on the colour of their skin. As a result, Black Bodies is a powerful film with a strong message that could not have been timed better.

Set in what appears to be a small prison complex, surrounded by murdered black bodies, the film immerses the viewer in the uncomfortable feeling of what it’s like to be Black. The spoken words describe the centuries of oppression brought on by their ancestors’ slavery at the hands of their white slave owners. Despite being “freed” not too long ago, it is no secret that black people still feel powerless and are still oppressed due to racist governing powers like the police. The film ends on a strong message, as the poet gets shot and a black woman is left powerless to help.

These intense visuals show not only the lack of power black people feel that they have, as but also how accustomed to pervasive racism and police brutality the community has become. Living in a society embedded with systemic racism, some members of the black community have accepted their place as a lower-class citizen and simply accepted they will be treated, not only less important than white people, but even human garbage due to the color of their skin. Black Bodies also shows the absurd amount of power police officers have in America, with a ‘license to kill, with no repercussions’.

Personally, I enjoyed Black Bodies greatly as it definitely felt much needed at this time. Over the course of this summer, we have seen many riots for police brutality on Black Americans. Highlighting the fear and how unsafe it is to be black in America, the film sums up some of this year’s major events, including Breonna Taylor’s murder in her sleep and Eric Garner’s famous last words, ‘I can’t breathe’. The film’s last scene also brings up how the “Black Lives Matter” movement current feels within the general public. Much like the woman who leaves the poet after mourning, Black Lives Matter feels like it’s lost momentum. After not being able to defund the police, they have accepted the racial system in place and unfortunately lost hope, even from its own communities.

Overall, Black Bodies is able to express the incredible struggle of how it feels to be Black in America. Highlighting the history of systemic racism on the Black community and how it’s still affecting black Americans to this day, Bodies is an effective piece that offers perspective to anyone who doesn’t understand the current Black Lives Matter movement and why it is so necessary.

Films in Full Colour #4 – MOONLIGHT

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We, at ScreenFish, believe that we are all created in God’s image and want to show our support where we can to those in the Black Community who continue to battle against systemic racism. While our team strives for diversity, we can always do better ourselves in giving voice to those who need the chance to speak out and be heard. 

In our new series, ‘Films in Full Colour’, we will be examining films that explore issues specifically within the black community. For each episode, my co-host will be Jordan Thoms, pastor of Warden Underground Church in Toronto and our hope is that, through the lens of film, we might be able to shine light on the issues faced every day by African Americans. This week, Jordan and I welcome back Erico Kabongo to talk about male role models, confidence in our identity and sexual stereotyping in the black community in Barry Jenkins’ Moonlight.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue the conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

Films in Full Colour #4: MoonlightDownload

BLM Unpacked; RTJ4, Last of Us 2, Christians & R-Rated Media

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your sunday drive podcast

Picking up from our last episode, we revisit Black Lives Matter, unpacking it as a value statement vs. a political statement, how the situation has developed over the past few weeks with defund the police movements and the death of Rayshard Brooks, and the potential dangers of “woke anti-racism” as a secular religion (a la John McWhorter).

Also: cancel culture, blackface, statues, and finding a way to navigate the symbolic nexus of history, freedom, motivation, love, etc. that this moment represents.

We also look at two popular pieces of current media (that Matt digs) – the album RTJ4 from rap group Run the Jewels and the game The Last of Us Part 2 – and ask questions around Christians and R-rated media: should we engage? How? Why? Dangers? Benefits? (you get it 🙂 )

Come along for Your Sunday Drive – quick conversation about current events, politics, pop culture and more, from the perspective of a couple of guys trying to follow Jesus.

Hosts: Matt Hill and Nate Polzin. Presented by the Church in Drive of Saginaw, MI, as often as possible. Please visit churchindrive.com and facebook.com/thechurchindrive