RaMell Ross

I think it's more to do with the way or what white audiences elevate to awards, per se, because it seems like it's more that, you know, 12 Years a Slave or this film gets there, and then why not another one?

I think it's more to do with the way or what white audiences elevate to awards, per se, because it seems like it's more that, you know, 12 Years a Slave or this film gets there, and then why not another one?

That conversation is necessary, you know, and I think it's such a good thing that like finally we're kind of in control to some degree or we're part of the conversation of making those films and we get to critique them publicly and people are engaged.

That conversation is necessary, you know, and I think it's such a good thing that like finally we're kind of in control to some degree or we're part of the conversation of making those films and we get to critique them publicly and people are engaged.

That conversation is necessary, you know, and I think it's such a good thing that like finally we're kind of in control to some degree or we're part of the conversation of making those films and we get to critique them publicly and people are engaged.

I think it's more to do with the way or what white audiences elevate to awards, per se, because it seems like it's more that, you know, 12 Years a Slave or this film gets there, and then why not another one? I don't know why that's the case. I think a lot has to do with who... they're elevating to make these films with this money and the way in which

I think it's more to do with the way or what white audiences elevate to awards, per se, because it seems like it's more that, you know, 12 Years a Slave or this film gets there, and then why not another one? I don't know why that's the case. I think a lot has to do with who... they're elevating to make these films with this money and the way in which

I think it's more to do with the way or what white audiences elevate to awards, per se, because it seems like it's more that, you know, 12 Years a Slave or this film gets there, and then why not another one? I don't know why that's the case. I think a lot has to do with who... they're elevating to make these films with this money and the way in which

the types of audiences who are following those filmmakers and are connected to their aesthetics, talk about the films. Like there's, you know, there's an, an auteur element to a Steve McQueen, but then you have like a Ryan Coogler, you know, he made Fruitvale Station, but then he's going straight to Creed and then he's going to Black Panthers and now he's making a horror film.

the types of audiences who are following those filmmakers and are connected to their aesthetics, talk about the films. Like there's, you know, there's an, an auteur element to a Steve McQueen, but then you have like a Ryan Coogler, you know, he made Fruitvale Station, but then he's going straight to Creed and then he's going to Black Panthers and now he's making a horror film.

the types of audiences who are following those filmmakers and are connected to their aesthetics, talk about the films. Like there's, you know, there's an, an auteur element to a Steve McQueen, but then you have like a Ryan Coogler, you know, he made Fruitvale Station, but then he's going straight to Creed and then he's going to Black Panthers and now he's making a horror film.

And you see Jordan Peele kind of starts in that territory with Get Out and And he stays in it, but he's doing, has like a different twist. And so they're not sort of straightforward films that also have elements of, but see, those aren't like Black suffering films. So I think Nickel Boys is an interesting case because it's so formal.

And you see Jordan Peele kind of starts in that territory with Get Out and And he stays in it, but he's doing, has like a different twist. And so they're not sort of straightforward films that also have elements of, but see, those aren't like Black suffering films. So I think Nickel Boys is an interesting case because it's so formal.

And you see Jordan Peele kind of starts in that territory with Get Out and And he stays in it, but he's doing, has like a different twist. And so they're not sort of straightforward films that also have elements of, but see, those aren't like Black suffering films. So I think Nickel Boys is an interesting case because it's so formal.

I think it's both one and not one at the same time, which I think is difficult for folks to categorize. Because I have a hard time connecting this film to

I think it's both one and not one at the same time, which I think is difficult for folks to categorize. Because I have a hard time connecting this film to

I think it's both one and not one at the same time, which I think is difficult for folks to categorize. Because I have a hard time connecting this film to

Almost any film, because of its aesthetics and because of the way in which it does time and because of the way it uses the film as a body and film as a sculpture, it seems to be more arts-based language and aesthetics than even commercial cinema at all.

Almost any film, because of its aesthetics and because of the way in which it does time and because of the way it uses the film as a body and film as a sculpture, it seems to be more arts-based language and aesthetics than even commercial cinema at all.

Almost any film, because of its aesthetics and because of the way in which it does time and because of the way it uses the film as a body and film as a sculpture, it seems to be more arts-based language and aesthetics than even commercial cinema at all.