See my review of Rungano Nyoni’s film, "On Becoming a Guinea Fowl," in this issue of Cineaste: https://www.cineaste.com/summer2025/on-becoming-a-guinea-fowl
Maria Garcia's Compendium Website
See my review of Rungano Nyoni’s film, "On Becoming a Guinea Fowl," in this issue of Cineaste: https://www.cineaste.com/summer2025/on-becoming-a-guinea-fowl
In the fall of last year, I had the privilege of interviewing two of the four directors, Palestinian Basel Adra and Israeli Yuval Abraham, who collaborated on No Other Land, a documentary about Masafer Yatta, a cluster of 20 small villages in the occupied West Bank. (My interview was published in Cineaste magazine's last issue.) It was a debut documentary for all of the directors, including Hamdan Ballal and Rachel Szor, who skillfully portrayed the attacks by the Israeli army and Jewish citizens living in illegal settlements; both destroyed homes, schools and in some cases the fields and animals that the villagers' relied on for food and water.
In the course of the interview both filmmakers expressed the hope that their film, well-received at the New York Film Festival by the majority of critics, would get a New York opening. I felt compelled to explain that it would not happen soon because it was election season. Privately, I was heartbroken at their optimism; I knew there was no hope of a theatrical release here. At least a dozen people had walked out of the festival screening, apparently offended by the documentary. When the screening ended, critics feared speaking to each other. Twenty years ago when controversial films, even ones about Israel, screened at NYFF it inspired thoughtful, respectful discussion.
Wanting to hold out hope, I told Basel and Yuval that a theater would most likely give them the qualifying run they needed for the Oscars. One New York theater and another in Santa Monica booked the film, but No Other Land still lacks wide distribution. I am saddened by this and ashamed for my country that professes to uphold freedom of speech. More than that, I mourn the plight of Palestine.
A DVD of No Other Land could be had on Amazon for several weeks but is now listed as "not available."
Speaking of free speech and tyranny, Google is preventing me from accessing my photos for this post because it wants me to accept cookies.
In February 1968, shortly before MLK was assassinated, a Black anesthesiologist and his family moved into our suburban neighborhood. My family had been the first Spanish-surnamed residents in the all-white development, and we had created quite a stir when we arrived even though we were white. It was the time of a great Puerto Rican migration in New York City.
At dinner one evening my father said that my mother would be making her Italian Ragu sauce to welcome the newcomers, and that I would be delivering it. I remember how heavy that large glass jar was, but I was rewarded for my effort with an invitation for milk and cookies. While I hoped to find a girl my age among the family's two children, the mom who answered was far younger than my parents and both children were toddlers. Several weeks later, someone burned a cross on their front lawn.
My father, who rarely cooked (although his skills rivaled my Italian mother's), rose at 5 AM the next morning, Palm Sunday, to make Paella. I proudly walked beside him after church, a time when all of our neighbors were also arriving home, to deliver that Paella to the Black family. They met us on their front porch. I tell this story not to lionize my father or our family because we were only doing what we would have done in the Brooklyn neighborhood where I spent most of my childhood, but because the memory is so vivid, undoubtedly because of the past week's news.
We are in another historic moment when Americans must stand with people of color, and speak out against racism. It is with these thoughts in mind today that I compiled an eclectic mix of some of my favorite movies by Black male and female directors whose subject matter may not be Black history, and Black history films by white filmmakers. In this way, I can celebrate a broad spectrum of Black history and artistry.
Finding these films on streaming platforms may require a search; I have provided some links, as well as links to my relevant reviews or filmmaker interviews. (It is best to read these after watching a film.) I ask readers to excuse the formats of the latter (mostly links to Google Drive) as they were hastily retrieved off the Internet when Film Journal International, where I was a contributing writer, closed its doors in 2018 and all content disappeared.
Haskell Wexler, The Bus (1963) https://vimeo.com/233430879
Richard Pearce, The Long Walk Home (1990) (Free for Amazon Prime)
Liz Garbus, et. al, The Farm, Angola, USA (1998) Review: https://bit.ly/4aF5LMo
Carl Franklin, One True Thing (1998) Interview: https://bit.ly/4gpduzJ (Above still, Meryl Streep, Renee Zellweger.
Frieder Schlaich, Otomo (1999)
Jennifer Dworkin, Love and Diane (2002) Review: https://bit.ly/42EY5YG
Ousmane Sembene, Moolaade (2003) Interview: https://bit.ly/40D6kBX
Lee Hirsch, Amandla: A Revolution in Four Part Harmony (2022) https://bit.ly/3CKQtcq
Adam Leon, Gimme the Loot (2012) (On Amazon)
Raoul Peck, Fatal Assistance (2013) (Best Known for I Am Not Your Negro) Interview: https://bit.ly/3CmOQBR
Stanley Nelson, Jr., Freedom Riders (2010); Freedom Summer (2014) Interviews: https://www.youtube.com/watch?v=RunJ8kY3YrA and https://www.youtube.com/watch?v=u3iBLkAIpsM
Amanda Lipitz, Step, (2017)
Kasi Lemmons, Talk to Me (2007), Harriet, (2019) Prime Video, Interview: My Cover Story Interview (https://www.cineaste.com/spring2020/home?rq=Kasi%20Lemmons) appears in several academic databases.
Lisa Cortés, Little Richard: I am Everything (2023) Interview: https://www.allarts.org/2023/04/little-richard-i-am-everything-lisa-cortes/
As always, thank you for reading.
I just ditched my X account and created an account at the relatively new social media platform, Blue Sky: https://bsky.app/profile/reelcriticnyc.bsky.social Afterward, I felt better.
Anyone who knows Pablo Larraín's early work may wonder if his recent bio-pics, Jackie, about the First Lady's life after her husband's assassination and Spencer, a portrait of Princess Diana, were made by another filmmaker with the same name. (Larraín's upcoming film is Maria, about the opera singer Maria Callas.) At the beginning of his career he was celebrated for his haunting, sanguineous tales of unrest in his native Chile.
Then there was NO (2013), his breakout film, nominated for an Academy Award for Best Foreign Language Film. That movie is about a political campaign, one that Larraín saw as marking a dramatic shift in the history of his country. It is a riveting film, and I interviewed him for Film Journal International upon its release. Here is the link to that conversation: https://drive.google.com/file/d/1OkruY0ZPaq2oyW1bVITQauswqr0w24c9/view?usp=sharing
To the right of this column are several more wonderful films you may wish to watch while you fret over the outcome of our presidential race. One of them follows the escapades of a millionaire who decides to run for president, and others are skillfully crafted documentaries. My favorite is Preston Sturges's The Great McGinty.
Giuseppe Tornatore and the iconic composer Ennio Morricone have been friends since their initial collaboration on Cinema Paradiso (1990). Morricone went on to write music for all of the writer-director's films. Tornatore's comprehensive documentary, "Ennio," that had a recent U.S. theatrical release in New York City, is now streaming. My interview with the filmmaker was published in Ambassador Magazine (https://www.niaf.org/niaf_magazine/ambassador-magazine-vol-35-no-3/), but it's easier to read here: https://drive.google.com/file/d/1i5EvSsR4mq7qsUcltB5GiKH66OsYjIrk/view?usp=sharing
Cameroonian Writer-Director Rosine Mbakam
Every August and September, film critics are either in Toronto or New York City (or both) for the busiest and most important season for movies. The Toronto Film Festival is the largest in the world by attendance, and while The New York Film Festival is much more intimate, it has grown into an equally prestigious venue for filmmakers. This year the press corps seemed much larger, and for the first time different films were screening at the same time at the festival.
Most of us attend dozens of screenings, but because critics are also interviewing filmmakers and/or reviewing films on deadline during the festival, it's almost impossible to see all the films we want to see. I am a film columnist for Ambassador, a D.C.-based magazine and have been for over 20 years, but I am also a freelance critic, and film festival press credentials mean a great deal to me and to others who are not on the staff of newspapers and magazines.
For me, it is a season I look forward to each year. TIFF is terrific, but there is a special quality to the New York Film Festival. It's my hometown, and each year I catch up with NYFF regulars, former college professors, other film critics, and writers who are not necessarily professionals, but whose viewpoints I always want to hear because they are fans, or because they have specialized knowledge. I have one friend who knows everything about Asian films, and another whose encyclopedic memory allows him to immediately name several films that resemble a new movie we have screened. This year, waiting on line (yes, critics and industry do have to wait on line) I met a playwright who had a Broadway debut this year.
It's New York, and you never know who you will meet in the ladies room. Many years ago, it was Nicole Kidman. She is as beautiful as she looks onscreen.
Here is a link to my interview with Rosine Mbakam, a Cameroonian filmmaker whose "Mambar Pierrette" screens this weekend: https://www.allarts.org/2023/10/mambar-pierrette/
Courtesy of Cinema Guild
My interview with filmmaker Davide Ferrario for this documentary appears in All Arts, WNET's online magazine: https://www.allarts.org/2023/07/umberto-eco-a-library-of-the-world-documentary/ If you are a New Yorker, you can see it at Film Forum, one of the city's premier art house cinemas. It will stream in the near future.
Little Richard performing in a mirror-embellished outfit of his own design. (Photo Courtesy of Magnolia Pictures)
My interview with Ms. Cortés will surprise you: A former music executive, she speaks about her commitment to "colonizing" music documentaries. Read here: https://www.allarts.org/2023/04/little-richard-i-am-everything-lisa-cortes/
My filmmaker interview for Alcarràs just published on All Arts: https://www.allarts.org/2023/02/carla-simon-alcarras/ Like Ms.Simón's debut feature, Summer 1993, Alcarràs is set in Catalonia, the region of Spain where she was born and raised. In the interview, she speaks about her preoccupation with families, and touches upon the social and political issues that are reshaping the rural area depicted in the film.
I hope you will read my interview with filmmaker Shaunak Sen for one of the best films of 2022, "All That Breathes": https://www.allarts.org/2022/12/shaunak-sen-documentary-all-that-breathes/ It recounts the story of two brothers who rescue Black Kites, the raptors endemic to their hometown in Delhi, India.
This blog for librarians and publishers interviewed me this fall about my career as a film critic and feature writer. Here is the link: https://blog.exacteditions.com/meet-the-contributor-maria-garcia-cineaste/