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Daniel Kaluuya

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.

Films in Full Colour #6 – JUDAS AND THE BLACK MESSIAH

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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. 

Set in the heat of the late 1960s, Judas and the Black Messiah follows Bill O’Neal (Lakeith Stanfield), a young man pressured by the FBI to infiltrate the Black Panther party. As he grows closer to the Party’s charismatic Chairman Fred Hampton (Daniel Kaluuya), O’Neal becomes torn between the government who holds his future and the leader that he is drawn towards. This week, Jordan Thoms and I discuss the relationship between revolution and violence and  the meaning of the Black Messiah.

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 6 – Judas and the Black MessisahDownload

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

Films in Full Colour #1: QUEEN & SLIM

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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 Enrico and Lauren Kabongo on the show to delve into spinning narratives, racial stereotyping and leaving a legacy in Melina Matsoukas’ Queen & Slim.

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.

FFC1: Queen & SlimDownload

Queen & Slim: Running into Love

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I have heard Queen & Slim called a black Bonnie and Clyde (which references a line in the film) and a heterosexual Thelma & Louise. The latter is more apt, but neither really quite captures the way this film fuses the on-the-run trope with today’s cultural affairs.

Daniel Kaluuya as Slim in Queen & Slim, directed by Melina Matsoukas.

This is the story of a black man (Daniel Kaluuya) and woman (Jodie Turner-Smith) on their first date. It is a nightmare. These two have nothing in common. He is a working man; she is a criminal defense attorney. He is religious—praying before meals, vanity license plate: TRUSTGOD; she doesn’t believe in God. He is looking to create a relationship; she accepted the date because it was a bad day and she didn’t want to be by herself. While driving home after the disastrous date, they are pulled over by a police officer for a minor traffic infraction. The cop is abusive and the situation escalates until the black man ends up shooting and killing the officer in self-defense.

Jodie Turner-Smith as Queen in Queen & Slim, directed by Melina Matsoukas.

The man wants to confess what he’s done, knowing it was unavoidable, but the woman knows how the justice system treats black people and convinces him that they must go on the run. Before long the dashcam video goes viral and there is a nationwide manhunt. As the days pass, this odd couple is together in a car looking for a plan. They slowly learn more about each other and themselves. The relationship, that seemed so impossible on that date, warms and develops into something precious to them both.

You may have noted that I’ve not used names for these two characters. We don’t know their names until the last few minutes of the film. They are essentially anonymous. Even the names in the title are not used in the film. Those names are also designed to make these two into an every man and woman. Screenwriter Lena Waithe says she used Queen “because I think all Black women are Queens”. Slim, she says, is an affectionate name black men use among themselves.

Along the way, the two encounter other people. Many, but not all, of the black people they meet are supportive. Many even see them as folk heroes or revolutionaries. Slim and Queen seem taken aback by these perceptions. That is a key difference between this film and Bonnie and Clyde and Thelma & Louise. Queen and Slim have no self-understanding that they are anything more than people in trouble. There is a nice coda in the film (in which we learn their real names) that revisits some of those people they met along the way in the aftermath of their journey.

(from left, centered) Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in Queen & Slim, directed by Melina Matsoukas.

Both natures of the film—criminals on the run and growing relationship—are present throughout, but the first half of the film is more heavily focused on the on-the-run theme. At just about the halfway mark, the film shifts the weight of the story to the relationship. It is in this half that we begin to learn more about the characters. Queen has seemed to be cold and detached. She seems strong and capable. But she has a past that has made her hide her vulnerabilities. Slim is trusting, compliant, and fearful. He is filled with guilt over killing a man. As they travel together, he must overcome his fear as he strives to survive.

(from left) Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in Queen & Slim, directed by Melina Matsoukas.

This film cannot be understood without an appreciation of the ways racism forms people’s lives. As we watch that traffic stop unfold and escalate into a lethal encounter, we know that Slim was justified in his action. But should he trust the legal system to treat him fairly? Is Queen right that as soon as he gave himself up he would “become the property of the state”? How a person of color answers those questions will likely differ from how persons of privilege react to them.

Special features include commentary from the writer and director, “A Deeper Meaning” with Kaluuya, Turner-Smith, and the filmmakers; “Melina & Lena” with the writer and director; the “Off the Script” screenplay reading; and “On the Run with Queen & Slim” behind-the-scenes.

Photos courtesy of Universal Pictures

5.05 The Roar of the WIDOWS

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When four men are killed on a failed bank heist, their widows are drawn into the criminal underworld to complete the job. Featuring an all-star cast, Steve McQueen’s WIDOWS is a gripping tale of betrayal, courage and power… but why isn’t it making any money? This week, Steve welcomes Julie and Paul Levac to talk about the strength of women and the truth behind the lies.

You can also stream the episode above on podomatic or on Spotify! Or, you can download the ep on Apple Podcasts, Google Play or more!

Want to continue to 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.

5.05 Widows

Thanks Julie and Paul for joining us!