#film production Hong Kong

[culturekidfilms]

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[xinyuehui]

⸺ That damn broken kite, just floats about in the air, who knows when it'll land?

Twilight of the Warriors: Walled In (2024)

[theersatzcowboy]

Hero / 英雄 (2002)

Legendary Chinese filmmaking visionary Zhang Yimou teams up with legendary cinematographer Christopher Doyle to create a timeless wuxia epic that switches eras and perspectives through scenescapes defined by different primary colors.

Director: Zhang Yimou

Cinematographer: Christopher Doyle

Starring: Jet Li, Tony Leung Chiu-wai, Maggie Cheung, Zhang Ziyi, Donnie Yen, and Chen Daoming

[flashfuckingflesh]

Romance and Chinese Boxing Don't Equal EVIL and That's Okay! "Gorgeous" reviewed! (88 Films / Blu-ray)

Fall in Love with “Gorgeous” on Blu-ray at Amazon.com! Bu believes in true love.  The young Taiwanese girl, with immense positivity, travels from her small fishing village of Jibei to the big city of Hong Kong after discovering a bottle containing a romantic note floating in the sea.  When Bu is let down by the originating sender, a gay makeup artist in an attempt to use fate and fortune to…

[twig-tea]

2024 BL/GL/QL Round-Up Post

Since I did this last year, I thought for posterity I'd post another reflection on everything I watched that completed in 2024. For me, that means anything that started in 2023 but the last episode was in 2024 is on this list, but anything that was still be airing after 31 December 2024 11:59 my time (EST) is not on this list, even if the bulk of the show did air in 2024.

A few stats:

[The image is TL;DR for what follows lol]

I watched ~150 discrete pieces of new QL content in 2024 (series/films) that I tracked [It gets complicated with specials and split seasons but I did my best to be consistent]; plus 10 things that I would consider "adjacent". For contrast, I listed 110 pieces of discrete content in 2023; that's a 45% increase year over year!

This clocked in at an est. 900 hours of new BL/GL and adjacent content (up from ~600 in 2023--which also tells us that the content I tracked was a little longer overall because that's a full 50% increase in terms of hours spent).

The new content I watched came from 9 different countries [same as 2023]: (Cambodia [1], Philippines [2, down from 3], Hong Kong [1], Japan [32, up from 18 in 2023], Korea [20; was 19], Myanmar [2, up from 1], Taiwan [12, up from 6], Thailand [75; up from 56], Vietnam [4, down from 7]), China [5], and then 3 joint effort productions from Thailand/Korea [2] and Thailand/Taiwan [1]

This means just under ~47% of the content I watched on this list is from Thailand [close to the 50% in 2023]

So many more shows had multiple or varied distributions this year, but like last year ~85% of my content was on 3 platforms: YouTube [38%; down from 40%], GaGaOoLaLa [30%; up from 23%] and iQIYI [17%; down from 21%] Note: I'm in Canada and my access routes are sometimes affected by that.

As unbelievable as it sounds with all that, I did actually drop shows this year! I dropped 9 shows, which is I think more than I've dropped in my entire previous 20+ years watching queer asian media combined (that might be an exaggeration but I do really hate dropping shows); 4 Thai, 3 Filipino, 1 Taiwanese and 1 Japanese (listed at the very bottom of this post if you want to be messy). I didn't track any dropped shows in 2023.

And if you're wondering how many shows there are in the world in total, I am aware of an additional 11 shows I just did not have time to even start (2 from Cambodia, 4 from the Philippines, 3 from Thailand, and 1 each from Korea and Myanmar). That does not include the vertical short reels that I didn't track this year--see @ellsieee 's tracking post for these--as well as several GL shorts from JPC media YouTube channel and Sastra film app YouTube channel that I just have not had time to try or even keep track of, though I do peek in on them to see if there's anything that looks particularly good, and I do always link these folks in my GL round-ups.

All of this doesn't include re-watches or catching up on old shows, or non-QL queer media, or non-queer media (the hets sometimes do deserve rights); but does include films as well as shows.

I hope you all appreciate that with this much content, and with my general brand of being unable to make decisions, I really struggled to narrow down a top 10 list. What follows is the best I could do lol

Top 25 QLs I'd Recommend From This Year:

[Links are self-indulgently to what I thought was the most relevant post I'd made this year relevant to that series/media, mostly spoiler-free pitches]

She Loves to Cook and She Loves to Eat S2 (Tsukutabe) [GL]

Love in the Big City

Love For Love's Sake

Tadaima Okaeri [anime]

Ossan no pantsu ga nandatte ii janai ka (Oppan)

Marahuyo Project

Knock Knock Boys

Let Free the Curse of Taekwondo

Love is Like a Poison (Doku koi)

Ossan's Love Returns

Twilight out of Focus [anime]

At 25:00 in Akasaka

Cooking Crush

Cherry Magic [anime]

Cherry Magic Thailand

Takara no Vidro

Soul Sisters / Twin Rabbits [GL]

Perfect Propose

Unknown the series

Paradise of Thorns [film]

Blue Canvas of Youthful Days

The Secret of Us [GL]

Mr Mitsuya's Planned Feeding (Mitsuya-Sensei)

The Time of Fever

A Man Who Defies the World of BL S3

I tried to put these in some kind of order but honestly if you asked me to rank them the numbering would change all the time and I would combust. The ones I liked best are closer to the top of this list. I also debated back and forth on whether Paradise of Thorns counts as QL so many times. But in the end I decided the main character was queer and queer romance of a sort was at the heart of the drama, so I've left it in this list even though technically it should probably sit with the 'adjacent's.

Worth noting that though only ~20% of the content I watched was from Japan, ~45% of my favourites were from Japan.

+5 notable pulp offerings worth mentioning:

Bagan Beginning (Myanmar)

City of Stars (Thailand)

Gym Affairs (China)

To the Ex Who Hated Me (Korea, GL)

Under the Oak Tree (Vietnam)

I think I'll do a top 10 GL post separately since we had enough content to warrant a top 10 (yay!) but this is already long enough. I just want to take a second to acknowledge that this year was so much better than in 2023 when I didn't feel like I could recommend any of the new GL shows. Thank you content creators for better and more GL in 2024, please keep that energy for 2025!

Bonus: Not a QL but worth calling out:

How to Make Millions Before Grandma Dies (Thai film)

I saw both this and Paradise of Thorns in theatres during the Toronto International Film Festival and they were both so powerful! Extremely different tones but they surprisingly hit on similar themes, and very beautifully filmed. HTMMBGD was a complicated film filled with very rounded and complex characters, and I still think about it all the time. Very excited for more folks to have access to both of these soon.

Sidenote: The fact that I watched 45% more shows in 2024 than I did in 2023 and still managed to keep my rec list to 30 (*cough1cough*) does seem to back up the general feeling that though we had more content, we didn't have a proportional rise in good content. I do want to crunch those numbers in another post.

Double Plus Bonus: Best Older QL Content I watched for the first time in 2024:

Life as a Girl / Joshi-teki Seikatsu (Japan, 2018; I'm so sad I missed out on this one for so long due to misinfo, it is fantastic! Thanks to @so-much-yet-to-learn for helping propel me to this one)

Iron Ladies (Thailand, 2000; thank you for the rec, @happypotato48)

Nacchan's Secret / Himitsu no Nacchan (Japan, 2023; thank you @furritsubs for making this watch possible)

Can I Buy Your Love From a Vending Machine / Sono Koi, Jihanki de Kaemasuka? (Japan, 2023; thanks to @nicks-den for making this watch possible)

I Fell In Love with the Villainness (Japan, 2023; watched because of a convo with @pilanthitasanilaphat)

Doi Boy (Thailand, 2023; this one I had on my list and just had to work up the energy to watch, but it was a beautiful film and I'm glad I did)

BL Metamorphosis (Japan, 2022; another thank you to @furritsubs)

Dear Dad (India, 2016; thanks to @neuroticbookworm for the rec!)

Salty Blue / Kakenuketara, Umi (Japan, 2023, thank you again @nicks-den!)

[I can't believe I forgot this at first] The Miracle of Teddy Bear (Thailand, 2022, thanks for going on that journey and writing great meta with me and for calling me out for forgetting @lurkingshan!)

There is so much good content in the world and despite my best efforts I haven't seen everything! So grateful to the fansubbers and people who write about past shows so that those of us who missed them the first time still get a chance to see them.

In terms of my output based on all this input, I continued not lurking this year, and have enjoyed it very much; see my Top 10 posts from 2024 here as well as the content I linked in my recommended shows above--going through the process of adding those links really highlighted to me how much more I've written this year, and how much more motivated I am to write about shows I love. It's no surprise I had dedicated posts for most of my top shows! To highlight a few specific projects this year that I'm proud of, I participated in the Love in the Big City Book Club read and watch-alongs organized by @lurkingshan, which was such a fun project that I am grateful for, and I started my GL Odds and Ends posts (tagged with #gl recs) that I am still feeling out but am really enjoying seeing the impact whenever someone watches a show because they found out about it through one of my posts. I also made an appearance on several episodes of @the-conversation-pod and had an incredible time trying out different things in a quarterly 'Dispatch' and having some really rich conversations with @bengiyo and @shortpplfedup. I love this corner of tumblr that we've carved out for ourselves as a QL watching community, and I just want to say to everyone I've interacted with in 2024: Thank you, and wish good things for you all in 2025!

Full list of 2024 shows under the cut for anyone curious! [Mostly in order it completed but may be slightly off--if a special aired immediately after the final episode I only list them as one thing and count the airing of the special as the end date, for example].

Bagan Beginning

Love Senior the Series

After SunDown

VIP Only

Twins the Series

Last Twilight

Night Dream the Series

My Universe

Bake Me Please special episode

Sahara Sensei to Tori Kun / Mr Sahara and Toki-kun

Love for Love's Sake

7 Days Before Valentine

Happy Ending

PitBabe the series

For Him the series

Cooking Crush

The Sign

Chaser Game W

Playboyy the series

Perfect Propose

Ossan's Love Returns

Tsukuritai Onna to Tabetai Onna S2 / She Loves to Cook and She Loves to Eat

Cherry Magic Th

Dead Friend Forever

Sukidoya / Although I Love You and You / Sukiyaken kedo dou yaroka?

Healing Thingyan

Love You in Every Multiverse

Cherry Magic (anime)

Please Teach Me

Anti Reset

Jazz for Two

Blank the Series

A Secretly Love

To Be Continued the series

Love is Better the Second time around / Koi wo Surunara Nidome ga Joto

City of Stars

Sea You Soon

Human Too

Man Who Defies the World of BL s3

Gray Shelter / Gray Currents / Grey Current

Gym Affairs

1000 Years Old the Series

Love is Like a Cat

To the Ex Who Hated Me

Lady Boy Friends the series

Deep Night the series + Special Episode

Unknown the series

Memory in the Letter

You are My Star

Lonely Girls

Boys Be Brave / Roommates / I Can't Confess

Blossom Campus

Two Worlds

VIP Only special episode

Pray In Love

I Fell In Love with My Male Best Friend

Friend With Benefit

Stay By My Side special episode

23.5

You Made My Day

Living With Him

City Boy Log pt3

Anti-Reset special episode

The Time of Huan Nan

Xiao Xiang Yi Jiu

Inverse Identity

At 25:00 in Akasaka

Only Boo!

Tadaima Okaeri

Love Bully (Club Friday)

Blank the Series S2

Marahuyo Project

The Two of Us

Blue Boys

OMG Vampire!

My Stand-In

We Are the series

Ossan no pantsu ga nandatte ii janai ka / Oppan

Wandee Goodday

Under the Oak Tree

The Rebound

Love Enemy

Love in the Apocalypse

Bad Guy

My Marvellous Dream is You/ Dream the Series

Century of Love

Knock Knock Boys

Be Your Star

Meet You at the Blossom

BOYTOY

The Secret of Us

Ayaka is in love with Hiroko / Ayaka-chan wa Hiroko-sempai ni koi shiteru

My Love Mix-Up!

This Love Doesn't Have Long Beans

Love Sea the series

Cosmetic Playlover

City Boy Log s4

Sunset Vibes

Mr Mitsuya's Planned Feeding

Takara no Vidro / Takara's Treasure

Paradise of Thorns

I Hear the Sunspot

The Time of Fever / when your temperature reaches my fingertips

4 Minutes The Trainee

Twilight out of Focus

Happy of the End

The On1y One

Live in Love

Heaven'sxCandy

The Two of Us s2

Addicted Heroin

I Saw You In My Dream

Monster Next Door

Our Golden Times

Affair

First Note of Love

Battle of the Writers

Reverse 4 U

Unlock Your Love

Chaser Game W s2

Let free the Curse of Taekwondo

Uncle Unknown

The Hidden Moon the series

Love in the Big City [the series]

Smells Like Green Spirit

Red Whisper

Eccentric Romance/PT is Love

My Damn Business

Apple My Love

Dominant Yakuza and Wimpy Corporate Slave

The Nipple Talk

Kidnap the series

Every You Every Me

Jack & Joker

People Come Later

Blue Canvas of Youthful Days

The Loyal Pin

Let's Eat Together Aki and Haru 2

Love is Like a Poison / doku koi: doku mo sugireba koi to naru

Bad Guy My Boss

Haunted Hearts

Seoul Blues

The Renovation

Love Sick 2024

Love in the Big City [the film]

Spare Me Your Mercy / Euthanasia

Soul Sisters / Twin Rabbits

My Hot Butch Roommate

Whisper Me a Love Song / Sasayaku you ni koi wo utau

Boys' Christmas

Bonus: FuFuKnows bi-weekly shorts [every other week they post a short film, almost always a QL storyline; there were 23 in 2024]

And those QL-adjacent shows I mentioned [these are all adapted from QL media or starred QL actors or were part of a QL franchise but did not have a canon queer romance at the core of its storytelling]:

The Spirealm

Close Friend 3 - Soju Bomb

How to Make a Million Before Grandma Dies

Man Suang

High School Return Of A Gangster / I, a Gangster, Became a High Schooler

Kimi to Yukite Saku: Shinsengumi Seishunroku

Hoshikuzu Telepath

A Balloon's Landing

Peaceful Property

My Strawberry Film

The shows I dropped:

Time the series

Beside You

Sugar Dog Life

The Whisperer

Kiseki in Tokyo

Q18

Sky Valley

The Fate Trap

Dear Miss Becky

And as a shout-out in penance, the shows I had on my list to get to but haven't yet watched:

A Blue Sky (Cambodia)

Ending Friend (Cambodia)

Pretty Boys (Philippines - requires an access fee on VivaMax+)

Oh My Boo (Philippines)

The Perfect Heartbreak (Philippines)

Where I found You (Philippines)

My_ the series (Myanmar)

What's In My Bag (Korean GL - requires an access fee on Vimeo)

Complicated (Thai)

Club Friday: Hot Love Issue (Thai)

2nd Chance (Thai; not to be confused with Second Chance, this was a smaller 3-episode short series from this year)

Thank you for reading!

[pharawee]

I'm trying to catch up with all the BL news I missed (which apparently was quite a lot) so I thought I'd make a quick post about it to put my thoughts in order:

First up is the trailer for The Renovation, a two-episode series about a writer, Pee, who turns his blossoming romance with holiday resort owner Arthit into the plot for his new novel (which goes over about exactly as well as you might expect). This drops on 14 & 21 December on One31 (so no official inter release yet).

Then there's a teaser for Rearrange, a high school band BL with a time travel twist and a what looks to be a GL side couple. And apparently the bad boy bassist and the nerdy drummer get together too which is exactly how things should be.

Next up, Boxer the Series (which is not the same as Boxer in Heart - another BL that was quietly cancelled in pre-production) have announced their cast with some familiar faces: Time Obnithi (The Whisperer, Bad Guy My Boss), Team Tatchanon (Twins), David Matthew Roberts (The Hidden Moon), Beboy Nanthakorn (who hopefully finally escaped from 9NAA) & Guide Piyawat (will be in The Hell Guard).

2025 might finally be the year of Muay Thai BL. 🤞

I have no idea if Hidden is a BL but it stars Tong Thanayut (as Kris) and it will release on youtube on 3 December. The plot certainly sounds intriguing (and messy):

On the night of Ten's birthday party, Ten, Kris, Pheem, and Prao find out about someone hiring Korn to secretly take pictures of Pheem. To figure out the truth, Kris and Pheem decide to hire Korn to take pictures at Ten's birthday party.

Director Golf Tanwarin's next series Love Like a Bike will apparently be exactly that: lots of couples and lots of bikes - and I most definitely appreciate it.

The series will star Masu Junyangdikul (who's kind of a big deal but it's his first BL role afaik) and Tee Thanapon (2 Moons, Triage), Win Thanat and Danny Luciano (The Loyal Pin), and Ta Nannakun (Kinnporsche, DFF) and Nanon Ruangdet (I love how everyone just copied the hashtags and I had to go on a whole google journey to find out their names).

The series is set around Nueng, a psychiatrist (a psychiatrist? in my BL??), and Sailom, a student suffering from a fear of being touched (played by Masu & Tee).

And then finally there's Eyes on You, a co-production between Hong Kong and Thailand (but filmed in Bangkok with a Thai cast) whose pilot will be unveiled on 27 November.

The plot summary on MDL sounds amazing tbh:

Two years ago, Just abandoned his law studies and severed ties with Rule to uncover the truth behind his parents' murder. Two years later, Rule, now a lawyer and still haunted by Just's disappearance, finally tracks him down to a seedy Gogo Bar, only to find him embroiled in a deadly feud with the Kung gang. But Just isn't alone. The bar is a haven for those consumed by vengeance: Salt, the security guard who always has a bloody smell, the runaway teen Tiger, and Ice, the ruthless madam running sexual business for the gang. Each carries the scent of violence, a simmering powder keg waiting to explode. Are you ready to descend into their dark, bloody, and tear-soaked path to retribution?

And that's it - except for the ThamePo trailer which everyone but me has already watched (I'll get to it right after posting this).

[vintagegeekculture]

"Brawl Busters" (1978) was a martial arts film that was advertised as being from the "Chinese Black Belt Society" in an opening card. Not only does this group not exist, the movie isn't even Chinese, but Korean. It was common for a lot of Korean films of this era to be set in China and have a Hong Kong cast. The film also was said to star "Black Jack Chan," who not only was not in the film, but also doesn't exist at all. As the images above show, it is a female led martial arts film.

This deeply strange credit to a made up Kung Fu Society and a claim to star a completely made up Chinese leading man was because, as surprising as it is to consider today, there was a time when it was extremely rare to have any entertainment come out of South Korea, and the producers figured it would have a bigger audience in Asia if this film was thought to be from Hong Kong. If it was known to be Korean, it would come off as a knockoff, which, to be fair, it completely was. South Korea was under military rule until the 1980s, and nearly all of its early entertainment industry was based on the blueprint of the cultural capital of Asia in the 70s-80s, Hong Kong, like Hitman in the Hand of Buddha, Woman Avenger (a Korean version of the very Chinese story of Wing Chun, famously played a decade later by Michelle Yeoh). Korean films of this era had many Hong Kong stars like Angela Mao, who made Hapkido and When Taekwondo Strikes in the early 70s there as joint Korean/Chinese productions. It also went both ways: many Korean talent in this era had to emigrate Korea to get into showbusiness, like "Thunderfoot" Hwang Jang Lee. After all...who ever heard of getting famous in entertainment in South Korea, anyway?

[qilingxiong]

九龍城寨之圍城 | Twilight of the Warriors: Walled In (2024)

I've rewatched this movie more than once, since seeing it in theatres back in August, and each time was just as good as the first if not better. Given that, I now have many thoughts so I'm subjecting y'all to listening to why you should watch it:

Twilight of the Warriors: Walled In (九龍城寨之圍城 or gau2 lung4 sing4 zaai6 zi1 wai4 sing4) is a martial arts action/crime film directed by Soi Cheang. It is an adaptation of the manhua City of Darkness by Andy Seto, and its source novel of the same name by Yuyi. The film's cast has established Hong Kong names folded in with newer-generation actors, starring Raymond Lam, Louis Koo, Sammo Hung, Richie Jen, Terrance Lau, Philip Ng, German Cheung, and Tony Wu (Aaron Kwok gets a cameo role, too).

At a broad glance, the movie follows several major triads in 1980s Hong Kong and their power struggle to control the Kowloon Walled City (a densely populated urban enclave, which for decades evaded direct governance by either the British colonial or Chinese powers in the area). We're introduced to the KWC and the triads' major players through the eyes of Chan Lok-Kwan (Raymond Lam), a man fleeing Vietnam and attempting to make a life for himself in HK. He winds up seeking refuge in the KWC, and comes to call both the city and the people he meets in it a home worth defending.

The narrative itself is not the most complex, but if you enjoy '80s Hong Kong films in these genres, it's solid fare and a harkening back to that decade. All the major themes like brotherhood (and brotherhood vs blood), vengeance, and struggle with conflicting loyalties are there, alongside an internal search for identity and belonging within Hong Kong. But the highlight in it is that the plot connects feast after feast of utterly stunning fight choreography, made all the more impressive by the fact that, according to Louis Koo, quite a few major cast members had never filmed this kind of action before. All their training was done just for TotW, and oh, does it pay off. I can't make good gifs, so you'll have to watch and see for yourself. It's not action for action's sake, either; listening to the head stunt choreographer discuss how different characters' fighting styles were crafted shows off how fight scenes aren't breaks in the story, they tell the story, and deepen our understanding of the characters.

The setting of the Kowloon Walled City truly makes the action in TotW stand out. It's a unique space to stage all these major fights, as the KWC's buildings at the time were packed together close enough to resemble a singular block from the outside. Once inside, it's a stacked, dark maze of uneven paths, stairs, and rickety roofs, with electrical and television cabling snaking over/around/through everything. Fight scenes in these streets feel thrillingly claustrophobic, with lots of acrobatics and near-dodges as characters navigate these tight alleys of the KWC. Each impact as a character goes flying into a wall, or is launched down a flight of stairs or onto a roof, is wonderfully visceral to watch.

All credit and hopefully awards are due to the production and set design teams for their work, in crafting this environment for the story and its fights. The visual/spatial representation of the KWC is the film's other glorious highlight, alongside the choreography. Whole streets of the KWC were recreated for this, filled with every mundane, period-accurate detail from the lives of ordinary people who would have lived there. It's impossible to catch all the intricacies put into making the KWC come to life again onscreen, just from watching the film. Shots like the credits sequence offer close-ups of harder-to-see details, and videos like a tour of the KWC set by Terrance Lau, acting as his character Shin, show off things from the drinks in the fridge at the corner store to the scribbled writing on the walls by the public taps. This film was designed with a drive to faithfully represent what the Kowloon Walled City had been like, how it looked when it was lived in, and they achieved it to an incredible degree.

That dedication extends to more than just the sets, though. The emotional core of TotW revolves around the KWC's inhabitants, and how they were the ones who made the city what it was, a home for about 35,000 people at a time. The film doesn't treat the KWC as just an eye-catching location to stage some fights; its characters might be fictional and overloaded with jianghu powers, but it goes out of its way to show how ordinary people might have lived, worked, and socialized within the historic city. It shows off why, despite its (not unwarranted) dark reputation, so many chose to live in a place that was once the densest urban center on the planet.

And this brings us to the acting, because the cast all do a very good job bringing their characters to life as the heart of the KWC. Louis Koo is fucking fantastic and arguably the scene stealer of the film as Cyclone, the triad leader in current charge of the KWC. He's grumpy, magnetic, and dangerous when he must be, but he also cares so very, very deeply about the inhabitants within his jurisdiction. Terrance Lau's Shin acts as his charismatic and capable right hand man, as well as protégé to Cyclone, befriending Chan Lok-Kwan and helping him become accustomed to life in the KWC. These two, along with the snarky Twelfth Master (Tony Wu) and the masked + imposing AV (German Cheung) become a quartet with great chemistry and friendship, the next generation to watch over and protect the Kowloon Walled City. Outside the KWC cast, antagonist figures like Sammo Hung, Philip Ng, and Richie Jen's characters are intimidating and compelling as threats to the city, and the lives people have etched out within its walls.

All of these things put together, and Twilight of the Warriors is a deeply fun, enjoyable, and rewatchable film (so good, in fact, that Hong Kong has submitted it as its nomination for the 2025 Oscars). The movie doesn't lose its emotional throughline in the promise of an action-packed ride it fully delivers on, and it uses its narrative, setting, and choreography to pay tribute to an earlier era of Hong Kong, as well as highlight + humanize a piece of the region's history that might not be quite as well known to some.

(The Kowloon Walled City was demolished and its inhabitants relocated in 1993. The area where it once stood is now a park, with some historic buildings preserved. If you're curious about people in the KWC before demolition, City Of Darkness: Life In Kowloon Walled City (1993) by Greg Girard and Ian Lambot is a collection of photographs and first-hand recountings from residents, recording their lives and stories. I'm in the midst of reading it right now.)

If anything I've said has piqued your interest whatsoever, I say to give Twilight of the Warriors a try, if you have a free two hours to spare. Something in it will be worth it for you. And if I've failed to convince you with any of this, or you need one more push, here's the trailer for the film:

And if I did manage to actually get anyone to seek out this movie, please tell me! I'd love to know your thoughts.

[lizardsfromspace]

Okay, Matrix plagiarism case postscript

One thing I didn't answer is how she got the Wachowski's timeline wrong. I still don't know, but it appears she essentially shifted their lives back a decade

She says less than a decade ago they were running a construction business, but actually, working at a construction company is what they were doing in 1986. In 1976 Lana and Lilly were eleven and nine years old respectively. I can't explain why she messed this up, beyond having to age them up a decade for the story to work

But this screencap also brings up another thing she mentions repeatedly that I didn't mention - the smoking gun in her claim is that...the Matrix ripped off her words verbatim for its opening crawl. The opening crawl...to The Matrix.

Huh?

So her story is - and unsurprisingly the timeline here is jumbled, for instance, citing production interviews from 1997 when the film wouldn't enter production until 1998 - the original version of The Matrix contained a Star Wars-style opening crawl, and this was the most directly plagiarized part of the film.

She claims this opening crawl was, in fact, in the theatrical release of The Matrix and only removed when it came to home media, because she. Because she called the FBI on the Wachowskis for stealing the idea of opening crawls from her

The theatrical cut does differ from later versions slightly - most infamously the Wachowskis made the green color filter much more green in the second DVD release, to make it consistent with the style of the sequels - but if there was a opening crawl mandated by the studio, nobody but her has mentioned it, and I find it hard to believe critics wouldn't mention it.

Because this is Dark City. She's clearly confused The Matrix with stories about the studio's meddling with the 1998 film Dark City.

Dark City was the dystopian sci-fi film that had a opening narration explaining the whole plot foisted on it by the studio, and critics mentioned it. Basically every review mentioned it (some even suggest covering your ears or muting the film the first time you see it, at least until the Director's Cut removed it). Meanwhile, reviews of The Matrix praised its opening from the very beginning: how it drops you right into things and lets you find out about its world as Neo does. It's just not possible that the theatrical release has a opening crawl no one mentioned when I can pull up full comparisons of theatrical vs first DVD vs second DVD vs Bluray. Whatever story she read either was about Dark City, or was a Wachowski saying in passing "yeah the studio wanted us to add one but we didn't".

Another thing I didn't touch on is just how much it hypes her up as a untouchable genius of cinema. For instance, she claims to have come up with the effects of The Matrix in 1983 too

(one funny part is how little she brings up The Terminator at all? She just threw it in as a bonus I guess)

I looked up how they did the bullet time effect in particular and...it would have been impossible in 1983. It's not just high speed photography; it's entire banks of cameras, placed in the right place by computer previsualization, their sequence programmed, and with all the elements composited together by CGI. Even stylistically - the true creator of the effects cited Akira as a influence, and Akira the movie didn't exist in 1983. Neither did the type of Hong Kong action film that heavily influenced it. I guess it would be possible to write down "someone goes really fast and we depict it like they slowed down time", concepts of a plan etc

But like.

She's destined to be one of the most profound master writers of the 21st century. This is a book proving she's never written anything. It has a pitch for The Third Eye, it has a second film treatment tacked on at the end, and it has copyright registrations for her sequels to Terminator and The Matrix. M. Night Shyamalan's character in Lady in the Water was destined to be a great writer too, but he actually wrote a book. He didn't put out a book with a decades-old synposis that was never finished & reams of legal documents and a bio saying, I'm one of the greatest authors of all time. Because who needs writing when you have destiny, God, and the ancient superrace living in the Pyramids on your side?

This is my for real last post on this since I ended up just depressed about it in the end. I think the worst part is, she knows she lost. But she still goes to the press telling a story she knows isn't true, and people believe her. Some of it is transphobic - "stop saying it's a trans allegory when they stole it"; some of it runs with the Christian oppression narrative (full disclosure, I was inspired to look for her book again bc while looking up another crank, I saw an interview with her in the sidebar of a religious website); but a lot of it is just people who innocently want it to be true.

One of the few pieces debunking her story is on a website called Black Excellence - it doesn't even have a byline - said this:

"There are many people, especially Black people, who wanted the story to be true. It symbolized a Black person, especially a Black woman, finally winning against the system. When Sophia Stewart spoke about how mainstream media would not give her the time of day because almost all of them were owned by Warner Brothers, some Black media embraced her. Blogs spread her story, especially the initial story on Globe that contained errors about the case.

"But the story is not true. Sophia Stewart did not become the richest Black person in the country. But that did not deter her from going on several shows and publications to tell her story."

She took advantage of people's urge to root for the underdog against a corporation - and seized on a lack of mainstream coverage to claim her story was being suppressed. But it just isn't true. Also yeah she ridiculously claims that Warner Bros owns every news website and newspaper and that's kind of funny I guess. Well, that's it. I'm never doing this again

[cottoncandytrafficcones]

10 Cool Jewish Women from Modern Day! Part 1

Raquel Montoya-Lewis, an American attorney and jurist on the Washington Supreme Court. Born to a father descended from the Pueblo of Laguna, she is a member of the Pueblo of Isleta. Her mother, born in Australia, is Jewish. She was also a professor at Fairhaven College, and was a judge for indigenous courts including the Upper Skagit Indian Tribe and the Nooksack Indian Tribe. She is the second Native American person to sit on a state supreme court, and the first enrolled tribal member!

Dana International, an Israeli pop singer. Born in Tel Aviv to a family of Yemenite descent, she identified as female from a very young age, and was inspired by Ofra Haza to become a singer. Dana was chosen to represent Israel in Eurovision 1998 with the song "Diva," and won the contest with 172 points. She represented Israel again in 2011.

Liora Itzhak, an Israeli singer from the Bene Israel Indian community. She moved to India at the age of 16, returning to Israel eight years later. While in India, she sang with Kumar Sanu and Udit Narayan, and performed in the Bollywood film Dil Ka Doctor. Her music has gained recognition in both Israel and India. During the Indian Prime Minister's visit to Israel in 2017, she sang the national anthems of Israel and India.

Carol Man, a Hong Kong artist born into a traditional Chinese family. She converted to Judaism, and often combines Jewish and Chinese elements into her work, which includes a step-by-step guide to Chinese-Hebrew calligraphy. Featured in the Jewish Renaissance magazine and the Jewish Art magazine, she often gives workshops on her style of art.

Qian Julie Wang, a Chinese American writer and civil rights lawyer. Her father was a professor of English and critic of the government, which led to her family having to flee China. She graduated from Swarthmore College with a BA in English Lit, and earned her JD from Yale Law. She converted to Judaism, and founded a Jews of Color group at Manhattan Central Synagogue.

Sarah Avraham, an Indian born Israeli Muay Thai kickboxer. She was born in Mumbai to a formerly Hindu father and a Christian mother. Her family was close friends with Gavriel and Rivka Holtzberg, who were killed in the 2008 Mumbai terrorist attacks. A year after the attack, her family converted to Judaism and moved to Israel. She volunteers as a firefighter, and is considering studying medicine. In 2012, she won the Israeli national women's Thai boxing championship in her weight class; in 2014, she won the Women's World Thai-Boxing Championship in Bangkok in her weight class.

Leza Lowitz, an American writer born in San Francisco who has written, edited, and co-translated over twenty books. She is an internationally renown yoga and mindfulness teacher. She has often written on the topic of expatriate women. She is married to a writer and translator, and has one son. Her work is archived in the Chicago U library's special collection of poetry from Japan.

Ellie Goldstein, a British model born in Ilford, Essez. She has been modeling since she was fifteen, and has worked on campaigns for Nike, Vodafone, and Superdrug. She is the first model with a disability (Down syndrome) to represent Gucci and model their beauty products.

Ashager Araro, an Ethiopian-Israeli activist. Born while her parents were traveling during Operation Solomon. She studied government, diplomacy, and strategy at the IDC Herzliya. She is a feminist who has spoken out about racism and police brutality. In early 2020, she opened a cultural center in Tel Aviv dedicated to Ethiopian Israel culture called Battae.

Sarah Aroeste, an American singer, composer, and author of Northern Macedonian descent. Her music often referred to as "feminist Ladino rock." Born in Princeton, her family emigrated to America from Monastir/Bitola during the Balkan Wars. In the late 1990s, she noted the lack of a revival for Sephardic music despite the revival of klezmer, and started her own Ladino rock band in 2001. One of her albums is named after Gracia Mendes Nasi. In 2015, she represented the US in the International Sephardic Music Festival in Cordoba. She has written several books, including children's books, with Sephardic themes. (Fun fact, I met her at the Greek Jewish Festival in New York!)

[absolutebl]

Began Beginning - Myanmar's first BL 

Not So Quick Pitch (or is it a pitch?)

Cause I got a lot of thoughts

8 eps 25 min ea YouTube

Began Beginning feels very much like a first timers BL. Which it pretty much is. There’s a lot of explaining and info dumping and information that we really don’t need about the characters (or the family) especially in the first couple of episodes.

Here's your hlepful breakdown:

Mani = main boy workaholic, probably gay, acts ace 

Hlyan = cute flirty bestie, smoker, closeted gay (for good reason) in love with Mani (becomes main character about 3/4 way through) 

Walar = openly gay visitor recovering from a breakup who enters their codependent dynamic and things happen as a result

Thae = Mani & Hlyan’s other bestie, trans 

I was tempted to say this reminded me of early Vietnamese BL, but in actuality what it reminded me of most was the stuff we got from way back in the early 2000's out of Hong Kong, or more recently from the Philippines (I'm thinking about something like The Boy Foretold by the Stars).

There is a grungy sticky authenticity to these works, of which Began Beginning is now a part. They have their own tarnished charm. For all their hiccups in storytelling and absurdities, there is an almost documentary feel to them, partly as a result of the inferior quality of production and filming (which is entirely economic). But that itself also somehow adds to the appeal.

This kind of BL is entirely the opposite of something out of Korea or GMMTV. And if you like that BL best, you aren't gonna like this product. But as much as KBL wins top ranks from me pretty consistently these days, sometimes I enjoy this kind of BL too.

The range itself keeps the genre vibrant and healthy.

So what is Began Beginning about?

Childhood best friends must come to terms with their own identities and true feelings for each other when a new boy comes to town, putting them into conflict with their families and ultimately, each other.

For the first half of this show there’s a lot of sitting across from each other and talking about life choices over yummy food and then going to tourist spots (mildly boring and not particularly important to the plot). 

It changed tone about 2/3 in to be way more of a coming out family drama about forced marriages and homophobia.

And then at the very end it changed again, becoming a full on soap opera with kidnapping, crazy characterization shifts, and rescue missions.

All in all? It was a wild raw creature to consume as a binge. No kisses since this is Myanmar, but a very romantic end, so I think maybe actually worth your time? I'm certainly glad I watched it.

Recommended with lots of reservations but great respect. I’m going with a 7/10.

There is a particularly important part at the end when Hlyan talks about asking Thae to dress him as a girl to see if he was third gender because he had these feels for another boy. And how unpleasant that made him feel. I thought it was hugely impactful as a window into the boxes same sex loves in modern society forces upon us. No matter what options our culture provides for us, if the boxes are limited we feel limited too. Also, drawing a distinction between gender identity and sexual identity. Lovely bit of storytelling.

(see comments, turns out this is not the first one)

(source)

[venusvity]

If you were concerned that the girls were being overworked before, welcome to the year, Angelico proved you right ten times over! Refusing to lose their hype and cash flow, Venus would release their first full album, "BRAINROT," alongside the title track WORMZ4BRAINZ. "WORMZ4BRAINZ" received positive reviews from critics, who praised its production and the group's vocal delivery. It attained commercial success, peaking at number two on the Gaon Digital Chart and number three on Billboard's World Digital Songs chart.

Showing their full versatility this year, the girls would come back with their sixth mini album, "#dontlike" taking on a more "teen crush" type concept. The EP debuted at number two on the Gaon Album Chart and number six on the Billboard World Albums chart. The songs from the album also performed well digitally. "#dontlike" charted at number one on the Gaon Digital Chart and number three on the Billboard World Digital Song Sales chart.

Controversially, just two months after Jiah turned 19, Venus would release "Come N' Get It," a sexy summer mini album. While a group of Constellations were very vocal about how inappropriate it was for this concept to be done on a freshly legal adult, the general public didn't seem to care. "Come N' Get It" debuted at number 27 on South Korea's Circle Digital Chart. It rose to number one the following week. The song debuted at number one on Singapore's Top Streaming Chart, the Malaysia International chart, and the Billboard Hits of the World charts for Hong Kong and Taiwan, earning Venus their first number-one in Hong Kong.

When asked about how she felt looking back on Come N Get It in the "The Road To Venus" documentary in 2023, Jiah would discuss how she feels currently about the concept vs. how she felt at nineteen.

The music video, full of provocative dancing and the girls in swimsuits, was filmed two days after Jiah's birthday, resulting in another wave of concern from fans. Jiah would only concern fans further by saying she's been waiting to do a concept like this and was very excited to show this side of her.

As a means of damage control gone wrong, VENUS would close out the year with their second digital single, "BAD GIRL," which spearheaded the Venus Hate Train of 2020. A hate train when you're in a successful girl group is to be expected, and the girls handled it to the best of their ability. However, online critics did nothing to the girls charting power and influence.

"Bad Girls" was named the best K-pop song of 2020 by Business Insider, second by Zenerate, and amongst the best songs of 2023 by Elle. Apple's campaign and "Bad Girls"'s music video received awards at the One Show and the Spikes Asia Awards. The song received four music show awards, twice on both M Countdown and Inkigayo.

[wlwcatalogue]

Female Queer Icons of Hong Kong // Yam Kim Fai (任劍輝) and Pak Suet Sin (白雪仙)

Photo 1: Promotional photo for 1955 contemporary movie The Model and the Car (玉女香車) (no video available) (Source: LCSD Museum Collection Search Portal)

Photo 4: Photo from Sin Fung Ming Opera Troupe's 1958 trip

Photo 5: Photo from a 1962 newspaper feature on Yam, Pak, and others at their (?) summer villa in Central, Hong Kong

Photo 6: Christmas celebrations with Yam, Pak, and their protégés of the Chor Fung Ming Troupe

Far and away the most iconic duo in Cantonese opera, Yam Kim Fai (任劍輝) and Pak Suet Sin (白雪仙) – commonly referred to simply as Yam-Pak (任白) – were famed for their partnership both on and off the stage… Click below to learn more!

Edit on 28/07/2023: Updated to link to a photo of the entrance to the Hong Kong Heritage Museum’s Pop Culture 60+ exhibit, and to add information regarding Yam and Pak's marriage status.

Iconic? How?

Yam-Pak are the face of Cantonese opera; you can't talk about the latter without mentioning the former. It's to the point where a gigantic picture of them graces the entrance to the Hong Kong Heritage Museum’s permanent exhibition on Hong Kong pop culture’s evolution across the past 60 years (“Hong Kong Pop 60+”) - they are the first thing you see upon entering!

Best known as the originators - with Yam playing the male leads and Pak the female leads - of five masterpieces of Cantonese opera, namely:

1. Princess Cheung Ping (帝女花) 2. The Legend of the Purple Hairpin (紫釵記) 3. The Dream Tryst in the Peony Pavilion (牡丹亭驚夢) 4. The Reincarnation of Lady Plum Blossom (再世紅梅記) 5. Butterfly and Red Pear Blossom (蝶影紅梨記) (Note: Princess Cheung Ping, Purple Hairpin, and Butterfly and Red Pear Blossom were made into abridged movie versions, with the Sin Fung Ming troupe members reprising their roles from the theatre productions. Also, the "Fragrant Sacrifice" (香夭) duet from Princess Cheung Ping (movie clip) is one of - if not the most - famous songs in Cantonese opera.)

Yam and Pak were the leading pair and co-founders of the legendary Sin Fung Ming Opera Troupe (仙鳳鳴劇團; 1956-1961), which is widely held to have pushed Cantonese opera forward as an artform due to Pak and scriptwriter Tong Tik Sang’s (唐滌生) emphasis on poetic libretti and adapting source material from Chinese literature and history. (Note: it has been common practice since the 1930's for Cantonese opera troupes to be founded by key actor(s).)

They were also very active in the Hong Kong film industry in the 1950's, being paired in over 40 movies together across roughly 8 years. One of those – the aforementioned Butterfly and Red Pear Blossom (蝶影紅梨記) – is the sole Cantonese opera movie on the Hong Kong Film Archive’s 100-Must See Hong Kong Movies list (IMDB list / archived version of the official PDF). It's a well-deserved inclusion - check out this beautifully-shot dance scene.

Even their post-retirement activities had a significant effect on the industry! In the early 1960’s, they held auditions for prospective students and provided - for free - systematic, hands-on training to those who passed; Yam and Pak even hired other veterans to teach skills they personally were not as familiar with. Prior to this, apprentices were expected to learn primarily from observing their masters, and to pay handsomely for the privilege. Yam-Pak’s methods proved exceedingly effective: the Chor Fung Ming Opera Troupe (雛鳳鳴劇團; 1963-1992) starring their apprentices reigned supreme in the 1970’s-1980’s. Following this success, Cantonese opera institutes - most notably the major 1900s-era guild, the Chinese Artists Association of Hong Kong (八和會館) - started to offer systematic coaching to young hopefuls in the 1980's.

Okay, so why are they queer icons specifically?

The lazy answer is that they're queer icons because nearly all of Yam's roles were male, so Gender is involved by default, and since most hit Cantonese operas of the time were romances, that means you get to see two female actors performing being in love onscreen (and also on stage, but there aren't any video recordings from back then). So far, so Takarazuka Revue.

Female actors playing male roles in Cantonese opera To give some context, each Cantonese opera performer specialises in one of four major role-types, and Yam was a sung (生) - i.e. an actor specialised in playing standard male roles. Female sung were fairly common in the 1910's-1930's due to women being banned from performing with men during that period, but when the ban lifted in the mid-1930's, many troupes shifted towards cis-casting. Yam was pretty much the only one whose popularity survived the transition. Just take a look at the huge number of Cantonese opera movies produced during the 1950’s-1960’s – you’ll be hard-pressed to find a female sung other than Yam, let alone one with top billing. Happily, thanks to Yam's immense popularity, her profilic film career (over 300 movies!), and the prominence of Sin Fung Ming works in the Cantonese opera canon, there has been a resurgence in female sung which endures to this day. Two noteworthy examples are Yam's protégé Sabrina Lee/ Loong Kim Sang (龍劍笙) - a star in her own right - and Joyce Koi/ Koi Ming Fai (蓋鳴暉), one of the biggest names still active in the industry. (Note: perhaps due to cinema being more "realistic" in nature, Yam's early movies often involved her playing female characters cross-dressing as men, including in some Cantonese opera movies. However, she received increasingly more male roles as her fame grew, and from the mid-1950's onwards she was playing male characters onscreen nearly exclusively-- even in non-Cantonese opera movies! See Photo 1 above.)

What sets Yam and Pak apart is that they were particularly known for their chemistry. Long before Sin Fung Ming's formation in 1956, the advertising copy for their first Cantonese opera movie together - Frolicking with a Pretty Maid in the Wineshop (酒樓戲鳳, 1952) - declared "Only this movie has Yam-Pak flirting on the silver screen" (source - 華僑日報 1952/05/23-26). And indeed, they were popular for their flirtatious duets: their Cantonese opera works invariably contained at least one, and such scenes made it into some of non-Cantonese opera (i.e. "contemporary") movies too. In fact, there are not one but two contemporary movies where Yam and Pak's characters are not paired up and yet still sing a duet together in such a way that their significant other(s) become convinced that the two are in romantically interested in each other - see 1952's Lovesick (為情顛倒) and 1956's The Happy Hall (滿堂吉慶) - a weirdly specific situation which doesn't crop up in the other, non-Yam-Pak movies I have seen.

Speaking of contemporary movies, let's talk about a certain plotline that keeps cropping up in works featuring the both of them and where Yam plays a woman! Six of the eleven movies which fit that criteria involve Yam's character cross-dressing as a man (a common characteristic across Yam's handful of female roles), and Pak's character falling for her. Nothing ever comes of it, of course, but, um. It was certainly a trend. Actually, even their very first movie together - 1951's Lucky Strike (福至心靈) - falls into this category.

Such storylines, and the emphasis on their chemistry, are particularly interesting given that both Yam and Pak remained ostensibly unmarried throughout. This was unusual for female performers of their stature, who tended to wed in their twenties, often to fellow-actors or wealthy men (e.g. Hung Sin Nui/紅線女, Fong Yim Fun/芳艷芬, and Tang Pik Wan/鄧碧雲)... In contrast, by the time Yam-Pak retired from the stage in 1961, they were both over 30 years old and without husbands.

Also, did I mention they were popularly believed to be living together? There doesn't seem to be any conclusive evidence either way... although it's a little strange that separate newspaper pictorials depicting "Yam at home" and "Pak at home" seem to be of the same location... however what is conclusive is that they did spent a lot of time together offstage. Pak has talked about how when they had no guests over, Yam would watch TV by herself while Pak was in the living room (source - p93), and protégé Mandy Fung/ Mui Suet Sze (梅雪詩) has said that Pak would sometimes cook for Yam at home (source - 03:53~). They would also celebrate birthdays, New Year's, and Christmas together (see Photo 6 for an example of the latter).

Shortly after Yam's passing in 1989, Pak set up the Yam Kim Fai and Pak Suet Sin Charitable Foundation (任白慈善基金) to support the arts and provide welfare for the elderly. In 1996, Pak made a large donation to Hong Kong University, resulting in one of the buildings being renamed Yam Pak Building (任白樓) in thanks (source).

Thanks for reading! Please feel free to DM me or send an ask if you have any questions, or are just interested in learning more.

If you made it here, have this bonus piece of trivia - Yam and Pak were also well-acquainted with Hong Kong's preeminent queer icon, Leslie Cheung (張國榮), who was a massive fan of theirs. Sadly there don't seem to be any pictures of them before Yam's passing, but here's one of Pak (centre) having afternoon tea with Cheung (left) and his long-term romantic partner Daffy Tong (唐鶴德) (right) at the Cova cafe in the Pacific Place shopping mall.

[pineapplefulfillseveryneed]

“My next project is actually a half-musical,” Woo confirms to Empire. “I’m going to be working with the Sparks Brothers, who wrote the script and songs — we are just starting work on some changes to the script.” While the filmmaker didn’t confirm the name of the project, all signs point to it being X Crucior, a film described by Focus Features when initially announced as a ‘musical epic’. Having long declared his dream to make a musical – back in the 1990s, he came close to adapting The Phantom Of The Opera into a big-budget songfest starring John Travolta – Woo tells Empire that the Sparks collab will require a change-up from his usual production style. “It will be my first movie where I don’t need to hire a stuntman,” he laughs.

[dizzymoods]

Black Skin White Screens

Another email response that I think might be useful here. Person was asking a question about why nobody cites Black film as influences: When Moonlight dropped nobody was talking about Clockers even though there were clear visual and dramatic elements referenced. Instead everyone (the filmmakers, critics, etc) was talking about French and Hong Kong cinema. So people even deny Spike's influence.

But, I think you might be mistaking a symptom for the disease. Tons of Black filmmakers were influenced by nonBlack filmmakers. French Impressionism & German Expressionism influenced Julie Dash; Charles Burnett loved British Kitchen Sink cinema; Bradford Young and I had a great convo about Apichatpong Weerasethakul one time; Haile Gerima almost killed me bc I interrupted a screening of Solaris by one of his GOATS Andrei Tarkovsky 😂 Even John Akomfrah's affective proximity, which AJ loves to employ, is an evolution of Eisenstinian montage.

The difference is that most of these filmmakers were steeped in, trained in, and worked in Black film. They weren't working within the studio system (though Burnett would go on to work with Disney in the 90s). There were Black spaces from Studio Museum in Harlem to Performing Arts Society of Los Angeles. There was public funding for TV that Marlon Riggs, Chamba Productions, etc. were able to take advantage of. Now all of these programs are either severely underfunded or gone completely. I think this is the primary reason: There aren't that many (semi)autonomous Black film/cultural spaces left. And so there's no cultural push for such things. 

All the money and attention is in white spaces. I know some filmmakers who either did a concept short for a feature or are in prepro on their first feature. The people around them have told them that they need to find European equivalents to their Black influences or else the money and attention will dry up. It's a structural thing. Two suggested comparisons that stuck out to me were Bill Gunn & Steven Soderbergh and Kathleen Collins & Maya Deren. These directors are not doing anything close to the other. It's just "scrappy indie director" and "known female director". I guess that's how things are commodified now.

Back in the 90s John Singleton went to Senegal to study under Ousmane Sembène. Part of the conversation is in Manthia Diawara's Sembéne: The Making of African Cinema. Diawara screened a bunch of cut footage from this conversation a couple years back but I don't think it's online. So literally 30 years ago there was still a connection to the past. What you're describing is a recent development.

So much of the last decade of Black cinema is animated by liberal identity politics and white guilt. from How They See Us to Birth Of A Nation. Even films that aren't so explicit about the white gaze like Moonlight are still affected by this phenomenon. It's not shocking that it won best picture after #OscarsSoWhite nor is the volume of Black cinema represented that year surprising. I have my suspicions that Barry was affected by the same antiBlack forces my friends are fighting now. He was tweeting about Clockers in the months preceding production. 

The industry is in flux right now + the transition from Obama to Trump (which we're still in btw) are all at play here. Film, especially Black film, is in retreat right now. The best we can do at this moment is be torch bearers of our lineage. I always feel like I'm mopping the ocean but every now and then a legend messages me a thank you or a new subscriber shows their appreciation.

In this climate of "Black firsts" (well firsts in white spaces) it's good to see you articulate how you want to build on the past. Being the Black 101st means that despite colonialism and slavery and Jim Crow and prison and everything else, nothing can stop the force of the Black camera and that should be honoured and celebrated.