Recently I received a copy of Octavia Butler’s Kindred graphic novel, which was adapted by Damien Duffy and John Jennings. Reading the story in graphic novel form gave me a chance to see aspects of the book that I didn’t pay as much attention to as before. One was the mechanism by which Dana traveled back in time. On her second trip back to the past, Rufus mentions to Dana that he had seen her in the water right before she came traveled back to the past to rescue him. Rufus tells Dana that he saw her with his eyes closed and that he had stepped into a “hole” in the river where he saw her in a room full of books. He also heard both Dana and Kevin before the second time Dana came back. Rufus, although problematic, has inklings of visionary insight, but does he because of his connection to his future legacy in Dana (Rufus only has black descendants as he only had children with Alice) or because he was at the edge of imagining a different society but the slaveholding, racist, sexist, generally oppressive society around him impeded that?
I met Janluk Stanislas at a recent Caribbeing event and found out about his 2005 Caribbean futuristic short film, Trafik d’Info. As someone of Afro-Caribbean descent, I am always looking for speculative works from the Caribbean and so this excited me. Trafik d’Info, known as the first science fiction film from the Caribbean, centers on a 20th century organization of rebels who are illegally trading information despite censorship from authorities. One of the agents of the organization, Jouwa, hunted the militia, is attempting to save important information so that people in his generation and future generations can receive it. Later in the film we see the effects of the efforts of this organization in the future. Below is my interview with Stanislas about the film:
1) Tell us a little about your background and how it influenced you to be a filmmaker.
I’m French Caribbean, born on the island of Guadeloupe. I’m part of that generation that grew up with the values that our parents and grandparents instilled, but also grew up with the beginning of advanced technology. My parents had a TV when I was one, and I remember going to the movies with my father later on every weekend. My mother influenced both my brother and I to play the piano and always found a way to document the family. I guess that the essence of my art form today was always surrounding me since my young age.
On Wednesday night after watching American Horror Story: Freak Show, I tuned in to watch the latest of TV One’s Hollywood Divas episode, “Five Black Witches.” One of the opening scenes is the de facto leader of the group, Paula Jai Parker, presenting to producer Carl Craig the idea agreed upon in previous episode for a supernatural film about five black sisters who are witches who each would have their own special powers.
Parker acknowledged that there is no film she was familiar with that deals with the supernatural through the experience of the black community, although it can be argued that several exist (Beloved? Sankofa? Several independent films?), but Craig’s immediate reaction was an obvious aversion to the concept. He looked as if he was wondering what the hell Parker just give him. Although he did say this was cutting edge material, he felt that black audiences would have a difficult time embracing this type of story, that they will look at it as “demonic” (here we go).
Some of the best stories are the ones that connect back to original tales and cultural rituals that are part of the human journey. Today, sometimes the universal meanings, archetypes and principles behind our modern stories are hidden because we are disconnected from those ancient tales and rituals. Think of, for example, Little Red Riding Hood, which can be interpreted as an initiation fairytale with the grandmother as the grand wise mother or crone figure and the wolf as an Anubis-like figure leading her onto a path of rebirth of herself.
Eliciana Nascimento captures that universal story of returning to one’s roots and the ancient continuing to live in the new in her Afro-Brazilian and Yoruba Orisha-inspired film, The Summer of Gods. Opening with a boat ride, a young girl, Lili, is traveling with her mother and brothers to visit her grandmother and right from the start, we see she has the ability to hear and see spirits around her. Lucumi priestess and professor of afrofuturism, Koko Zauditu-Selassie, said during the panel that this establishing scene of the family going across the water symbolizes fluidity of generational memory and listening to the past, and that despite being abducted and forced across the water during the transatlantic slave trade, it did not change us completely. Water is a theme throughout the film, including a honoring ritual at the waterfall in Brazil in the beginning of the film and the two water-related Orisha – Yemanja (whose is along with her Brazilian festival a main inspiration for the film) and Oshun (the Orisha of the life-giving rivers). The water represents for this young girl a return to her ancestral roots and traditions, but also a fertile creative place where her new life can begin.
Here are two videos I watched from New York’s Channel 13’s Reel 13 film showcase and competition:
Catron Booker’s The Alien Project: “Alien imaginings? Alien times?Alien futures? Alien lives matter. An Afro-Futurist vision of resistance.”
Gus Péwé‘s The Vacuum Is Too Loud: “The story of a man who finds himself lost on Earth, determined to return home.”
Nappy Nation Media presents Ase, an African historical fantasy short film and TV series concept. Shot on location in Nigeria, it is “set in the ancient West African kingdom of Oyo, and is about three ordinary teens on a seemingly ordinary day who have a not-so-ordinary supernatural encounter with a dark and evil spirit known as Elemoso.
This short film is a brief introduction to the concept for a one-hour epic television series we are developing based on the same setting and primary characters. Artists from all over Nigeria and America united to bring this story to life, in celebration of the beauty, complexity, and history of African people.”
Take a look at the behind the scenes interview:
Directed by Olivier Gros, Benoit Rimet, Scott Bono and Charles E. Farkas, the film follows a “bluesman blinded by ambition and at the peak of his career is up by the Devil whom he had sold his soul 30years before in exchange for great success.” I guess this film is a possible extension to the Robert Johnson story if he lived to an old age. Also, the main message of the film seems to be if you don’t see the innate value of your creations, someone else will see that value and take it from you.
Directed by Trinidadian Shaun Escayg, Noka: Keeper of Worlds is a film about an 8-year-old boy named Gabriel with a rare form of schizophrenia which he inherited from his grandfather who recently died. At his grandfather’s funeral, he meets an old friend of his grandfather, who introduces him to “an unseen supernatural realm” for which he and his grandfather are gatekeepers. “Gabriel must abandon all he knows and loves to fulfill his purpose, his legacy, as a NOKA.” I am getting a Matrix, but more fantastical and less technological driven, vibe from this film; I like the Caribbean perspective of it and would like to see it as a feature length film.