#its amazing how this game pays homage to both modern and classic sci-fi

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Every so often I'll watch a sci-fi movie and find the plot suspiciously recognizable, then immediately think "oh wait this was one of those movies that inspired 13 Sentinels"

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Ghost of Tsushima Review: A Beautiful Homage to Akira Kurosawa

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Ghost of Tsushima is a daring departure for Sucker Punch, who since 2009 has worked solely on the Playstation-exclusive Infamous series. While those games were steeped in modernity, offering sprawling cityscapes players could explore from top to bottom via superpowered “conduits” Cole MacGrath and Delsin Rowe, Ghost of Tsushima’s open world is set in feudal Japan. It’s here that we meet young samurai Jin Sakai, who must defend his homeland, the titular island of Tsushima, from an invading Mongol army.

Right off the bat, the shift in time period and milieu to 13th century Japan is notable because Sucker Punch handles it so brilliantly, especially for the team’s first foray into the samurai genre. Japanese history and culture are woven into every single facet of the game so elegantly and organically that you’d think the team had been developing games set in feudal Japan for the past decade, not sci-fi superhero romps. More than anything, Ghost of Tsushima is a moving homage to Japan, its history, and its people.

The story opens with a massacre. A massive Mongol army, led by the cunning Khotun Khan, storms the beaches of Tsushima and is met by the island’s woefully outnumbered samurai contingent. When the leader of the samurai challenges Khotun to a one-on-one, fair fight, the Khan renounces the honorable gesture in gruesome fashion, literally setting the courageous samurai on fire in front of both armies. The rest of the samurai are obliterated on the beach, while Jin’s uncle, Lord Shimura, is taken prisoner by the Khan. Jin is also fatally wounded but is miraculously nursed back to health by a new ally, a thief named Yuna who needs his help in return.

These opening moments set the tone for the rest of the game. The philosophical conflict between honor and deception is the beating heart of the story and permeates the gameplay in riveting ways. As you fight to take back Tsushima from the Mongols, you can approach enemy encounters in two ways. You can choose to fight honorably, like a true samurai, and challenge enemies to a “standoff,” a quick-reflex mini-game of sorts in which you and one of the baddies face off one-on-one and see who flinches first before one of you slashes his blade through the other. You’ll then have to take on the rest of the enemies all at once, which is no easy task.

The other option is to fight like a “Ghost,” sneaking into enemy camps, killing the bad guys in their sleep, poisoning them, using intimidation tactics to scare them into fleeing battle. It’s an effective way of evening the odds between you and your foes, but it rails against everything the samurai stand for.

Countless games offer the player the option to approach combat either stealthily or head-on. This is far from a novel concept, and in this respect, the combat in Ghost of Tsushima offers little innovation. But what is innovative here is how Sucker Punch has taken the classic device of stealth vs. frontal assault and given it new life by expertly integrating it with the themes of the story.

Jin meets a handful of allies on his journey, each with their own multi-chapter story arcs that delve into their respective backstories. There’s sensei Ishikawa, a master archer whose protege has gone rogue and joined the Mongols. Lady Masako is a warrior and grandmother whose entire family was murdered by the Mongols, though she suspects they may have died after someone close to the family conspired with the enemy.

Each of the characters explores the honor vs. dishonor theme in unique and surprising ways. The dichotomy is most starkly represented in the clash of ideals between Lord Shimura, who is unshakably honorable and would rather die than gain an unfair advantage in battle, and Yuna, who understands that, to beat an enemy who fights dirty, you may have to put honor to the side for the sake of saving your people. Of course, Jin is caught in the middle and struggles to decide what kind of man he wants to be.

Aside from the ties to the story, the gameplay is fun and engaging. The swordplay combines parries and dodging with a more strategic approach to melee, as you try to find ways to build up your enemy’s stagger gauge. You can also use “ghost weapons” to give you an edge in battle, like kunai (throwing knives), smoke bombs, arrows, and more. There are also four stances to master, with each being effective against a different enemy type. Switching between stances is integral to combat and becomes second nature over time. There’s also an insanely cool fifth stance that I won’t spoil here, but it’s spectacularly badass.

Stealthing is strikingly similar to what you’d see in an Assassin’s Creed title (this is a compliment), and the game gives you myriad ways to kill enemies without raising alarms, like throwable wind chimes and firecrackers that allow you to manipulate their positioning or hallucinogenic darts that turn them against each other. Again, this is all stuff we’ve seen before, but it’s pulled off well here.

Release Date: July 17, 2020 Platform: PS4 Developer: Sucker Punch Productions Publisher: Sony Interactive Entertainment Genre: Action-adventure

Unfortunately, there are little gameplay flaws that needled at me, especially in the later hours of my playthrough (it took me around 45 hours to finish the game). The swordplay requires quick reflexes, and mastering parries and dodging is absolutely pivotal to your survival. The problem with the swordplay is subtle, and a little difficult to explain, but I’ll say it like this: in most games that are particularly challenging, when I die, I feel like it was my fault because I made a mistake, I just wasn’t fast enough, I hadn’t mastered certain skills. But on many occasions in Ghost of Tsushima, I felt like I died because the game didn’t give me a fair shot, like it was the game’s fault that I failed, not mine. It’s possible that I just wasn’t very good at the game, but it felt at times like I wasn’t given a choice in the matter. Your mileage will vary with the game’s difficulty level.

There are other things that bugged me, too, like the unreliable climbing mechanics (I swear, sometimes hopping onto a rope or branch that’s literally right in front of you is way, WAY too difficult). But overall, I had a great time playing the game and felt super powerful by the time I’d filled out my skill trees, which is no surprise considering the game was made by the same folks who made Infamous.

On a nuts and bolts gameplay level, Ghost of Tsushima doesn’t feel all that unique — there is some very familiar open-world stuff here. But on a presentation and storytelling level, the game is out-of-this-world amazing. Visually, the game looks stunning. The late-stage PlayStation 4 graphics really deliver, and coupled with the strength of the art design, Ghost of Tsushima is a true head-turner. The character models look fantastic and can emote on a level that supports the drama of the story. And while the different suits of armor that Jin acquires offer unique gameplay perks, I honestly just collected and upgraded them almost exclusively as an aesthetic indulgence. They look so freaking cool.

But the real stars of the show are the environments, which look picturesque from every conceivable angle. The wind-swept, verdant hills of Tsushima are intoxicatingly pretty, to the point where I’d get caught up ogling for minutes on end at the smallest of details, like the way the moonlight bounces off blades of grass or the way Jin kicks up crimson-red leaves that have blanketed the ground over time. I could go on forever about the dynamic day/night cycle, the beautiful rendering of different fabrics and materials, the horse animations. But instead, I’ll just say that this is the most breathtaking game, visually, that I’ve seen in recent memory.

A lot of love also went into infusing the game with Japanese cultural references, particularly in how the developers pay homage to the samurai genre. Each mission, for example, is bookended by cinematic intertitles that evoke old samurai cinema, Japanese characters, and all. But without a doubt, the most obvious/most amazing homage is “Kurosawa Mode,” which presents the game in black and white, with one of the best film grain filters I’ve ever seen in a game, resulting in an experience that looks almost exactly like a film from the iconic Japanese auteur’s oeuvre, right next to Sanjuro and Seven Samurai. If you’re a long-time fan of Kurosawa, turning the mode on may even elicit an “I’m not crying…you’re crying!” response — it’s that pretty.

I initially intended on playing the entire game in Kurosawa mode but quickly realized that it would be problematic to do so for a few reasons. Some missions require you to “follow the (insert color) flowers,” which is obviously impossible in black and white. And in combat, blockable enemy heavy attacks are signaled by a blue glint, while unblockable ones have a red glint. Combat is tough enough as it is, so…yeah. I only turned the mode on when I was riding on my horse through the countryside and I felt like treating myself to some eye candy.

Taking time to smell the cherry blossoms and have a respite from the game’s many missions and side missions is crucial because Ghost of Tsushima is a long, long game. The missions aren’t overly repetitive — most of them feel really special actually, like when you climb a mountain in freezing cold weather and must race from campfire to campfire on your ascent, or one armor quest comprised of several one-on-one duels with straw hat swordsmen scattered about the map, each with a distinct personality. But 40-plus hours is 40-plus hours, and while the main tasks of infiltrating enemy camps, liberating farms, and searching for special gear can lead to questing fatigue at the tail end of the game, the nice thing is is that you can always slow things down and just enjoy the scenery to break things up. There’s even a nifty photo mode to play with, and if any game warrants a photo mode, it’s this one.

Jin’s story isn’t just a means to an end, or a lazy excuse to drag the player from gameplay scenario to gameplay scenario. The story is incredibly well written and profound in its messaging and imagery, so much so that I believe it’s one of the best modern entries in the samurai genre, regardless of medium. All of the characters you meet and the little tales that unfold across Tsushima are filtered through Jin’s inner struggle with what honor really means and whether or not it’s worth dying for, which gives the story an incredibly strong narrative backbone. Despite the game’s epic scope, Jin’s journey actually feels quite intimate and personal. The same could be said of Kurosawa’s best work, and that’s just about the highest compliment I can give.

The post Ghost of Tsushima Review: A Beautiful Homage to Akira Kurosawa appeared first on Den of Geek.

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Black Films and Artists Thrive at 2019 Tribeca Film Festival

By NNPA News Wire Film Critic Dwight Brown

The 18th annual Tribeca Film Festival featured films, docs, shorts, TV, tech seminars and immersive experiences. It was a 21st century gathering place for filmmakers, artists and fans.  

Black films, directors, actors and artists shared the glory and attention with other contemporaries who were proud to have TFF as an international venue. As the festival inches towards the two-decade mark, it’s only getting better and maturing like a fine wine.  

Black Films, Filmmakers, Actors and Artists

17 Blocks (****) Life expectancy in the U.S. averages out to around 79 years of age. That statistic skews much lower in this poignant and profound documentary about a Washington, D.C. family that’s on a different path. In 1999, nine-year old Emmanuel is given a movie camera. He uses it to chronicle the exploits of his mom, older brother, older sister and extended family. His lens captures the love in the air, the danger outside and the hope he brings to his family for a son who could be the first in their brood to go to college. Drugs, gangs and violence lurk. Emmanuel’s destiny takes a turn that will leave viewers spellbound. Over a 20-year period, this family’s dynamics, conflicts, breath throughs and tribulations are recorded like an urban allegory. The span of time is reminiscent of the Oscar-nominated drama Boyhood. The soul of a young man gets an enduring legacy thanks to the power of film.

The Apollo (***1/2) The Apollo Theater was always so much more than a performing arts venue. Since 1934, it’s been a community center, talent scout hub, training ground for countless artists and a mecca that is destined to be both a shrine and a progressive cultural home—for years to come. Director Roger Ross Williams helms this ambitious project, Lisa Cortes is a producer and the perceptive writing by Cassidy Hartmann and Roger Ross Williams pays respect to the hall’s past and its extended family. The footage is most exciting when it depicts performances by legendary artists (Ella, Duke, Dinah, Billie), Motown (Smokey, Supremes, Temptations) and comedians (Moms Mabley, Richard Pryor). Veterans (e.g. Patti Labelle) share their anecdotes. The late Ralph Cooper recollects starting Amateur Night. Rarely has a history lesson been so damn entertaining.  

Burning Cane (***) And what were you doing at age 17? Phillip Youmans was writing his first script, which he turned into this Southern Louisiana melodrama about a mother (Karen Kaia Livers) who deals with an alcoholic adult son (Dominique McClellan), his boy (Braelyn Kelly) and a recently widowed and stressed-out preacher (Wendell Pierce). The sun beats down on this luckless family, who grinds itself into a deeper and deeper hole. Youmans’ premise and maturity go well beyond his years. He puts his characters in an angst that hovers over the entire production. For tone and drama, he gets an A+. For storytelling, a B-. For tech elements a C. The gritty feel is reminiscent of a John Cassavetes movie. Youmans’ cinematography needs developing; camera placement is questionable as is the lighting. If the footage has a Beast of the Southern Wild synergy, it’s because this movie’s executive producer, Ben Zeitlin, was that film’s director. 

Devil’s Pie—D’Angelo (***1/2) Lots of musicians attract a following, but D’Angelo’s fans can be classified as an avid cult with extremely good taste in soul music. Part of the Grammy winner’s mystique centers around his 14-year-absence from recording (Voodoo in 2000; Black Messiah in 2014), which stunned his admirers. That mystery, his childhood, resurgence, live shows, recording sessions and musings are on view in this wonderfully crafted homage. Home movies and photos depict his upbringing, influential grandmother and days as his church’s organist. Personal anecdotes reveal his problems with alcohol and drugs. Attesting to his musical savvy and eccentricities are Questlove, Dave Chappelle and Erykah Badu. Though many put D’Angelo in his own niche (R&B, soul, funk, sexy songs with a hint of jazz), Prince’s influence is quite obvious when the singer wails. Thank documentarian Carina Bijlsma for the candid glimpse at a musical innovator who should be called a genius. Get ready to tap your toes and sing along to “Brown Sugar.” 

Gully (*1/2)  Music video director Nabil Elderkin steps into the deep end of feature filmmaking and flounders. His technique is solid, especially the ways he moves the camera (cinematographer Adriano Goldman) around on evocative shots of palm tree-lined streets in Los Angeles. However, he’s wasted his talent on a misguided script (Marcus Guillory) that focuses on three unlikable and aimless adolescents (Jacob Latimore, Charlie Plummer, Kelvin Harrison Jr.). The trio go from playing violent video games to assaulting people on the streets—without any obvious motivation. Yes, they each have troubled pasts, but nothing that warrants physical attacks. Never believable. Never compelling. Pointless. Kids have excuses for making bad decisions. Adults, like the ones who made this repulsive drivel, do not. 

Inna De Yard: The Soul of Jamaica (***) Showing admiration for reggae musicians from the ‘70s and ‘80s is this very inspiring doc’s goal. Shot largely in the hills above Kingston, British director Peter Webber gives a comeback platform to senior reggae stars like Ken Boothe, Winston McAnuff, Kiddus I, and Cedric Myton. Long past their heyday but still able to sell a song. Their stories of past triumphs are riveting and it’s a joy to watch them record again. They’re backed up by young musicians eager to play with their heroes. Judy Mowatt, legendary former Bob Marley backup singer, is a revelation. Reggae music, like Jamaica, is all about peace and love. That’s the takeaway. That’s what the audience will remember about this rousing, heartfelt documentary. 

A Kid from Coney Island (***) We’re well-acquainted with basketball’s most successful players who soared into fame and fortune (Kobe, Magic, Michael, Larry, LeBron). We’re less familiar with hoop dream athletes who struggled. Stephon Marbury grew up in the Coney Island projects, where the only choices for rising above the fray was becoming a rapper, drug dealer or basketball player. Obsessed with the sport from a young age, he was influenced by his dad and brothers and nurtured by his older sis and mom. Steph was destined for greatness. He became a city champion, college star, draft choice and NBA legend. Only fate tossed him curve balls. Under the prying eye of doc directors Coodie Simmons and Chike Ozah, viewers watch a very talented man withstand the death of a parent, depression, a career that stalls and a surprisingly spiritual path to redemption. In this eye-opening and sobering documentary, we see how an eight-pound orange ball can take an inner-city kid to the other side of the world. More ups and downs and as exciting as the Cyclone roller coaster ride on Coney Island.

Lil’ Buck: Real Swan (***) The kids in Charles “Lil’ Buck” Riley’s low-income outer Memphis neighborhood flocked to the local roller rink at night and waited for the skating to stop and the dancing to begin. Jookin’ is the local dance form, akin to Crunking, Gangsta Walking and Michael Jackson’s stop-start-twirls. Lil’ Buck won a scholarship to a Memphis dance school, and added ballet to his mix. His blend of urban dance and classic technique is amazing to watch. Equally entrancing is this beguiling look at a young kid who blossoms as a person and a dancer. A career in L.A., performances with Yo-Yo Ma and touring the world are like a dream come true. Director Louis Wallecan doesn’t miss one step. Interviews with family, friends and admirers highlight a hybrid street dance, an art form created by an innovator who transcends life and description. 

Only (**1/2) What if? What if after the apocalypse a virus became a plague that only killed women? That’s the premise of writer/director Takashi Doscher’s ultra-modern and very scary sci-fi nightmare. The focus is on a couple, Eva (Freida Pinto, Slumdog Millionaire) and Will (Leslie Odom Jr., Hamilton) who survive indoors using hazmat suits to stave off danger. Every scene is as creepy as the premise. Nice performances from the two leads. Ugly cinematography (Sean Stiegemeier) done in shades of gray, greens and browns make footage dreary. Can’t say Dosher is an accomplished filmmaker—yet, but this movie hits a nerve. Also, coming from a male director there is a misogynist undertone that just doesn’t feel right. 

Recorder: The Marion Stokes Project (***) Saying she liked keepsakes is putting it mildly. Librarian, TV producer and political activist Marion Stokes had an obsession: capturing the news as it was depicted on TV. From 1979 (Iranian hostage crisis) to 2012 (Sandy Hook tragedy), she recorded newsfeeds from the networks on 70,000 VHS tapes. For an enlightening and somewhat somber history lesson, view this documentary to see how far society has evolved and what it has left in its wake. Documentarian Matt Wolf handpicks clips, adds in the essence of Stokes’ personality and interviews witnesses to her hobby. He creates a thought-provoking look at the upheavals, controversies and conflicts that have shaped this country. Racial and social issues come to the forefront.  

Roads (**1/2) Actor turned director and writer Sebastian Schipper (Run Lola Runand Victoria) examines immigration with this vibrant road movie. British teen Gyllen (Fionn Whitehead, Dunkirk) steals his stepfather’s RV while in Morocco and heads towards France to visit his father. Along the way, he picks up a fellow traveler, William (Stéphane Bak), who is from the Democratic Republic of Congo. It’s interesting to watch the way they are treated differently as they travel. Gyllen makes his anger known and is oblivious to danger. The more reserved William knows danger way too well and can smell it before it happens. Their divergent points of view and cultural differences speak more about race relations than a college course. A thoughtful script (Schipper and Oliver Ziegenbalg), nice performances from the teens. Final scenes that depict refugees’ confined lives in France are solemn. 

Skin (***1/2)  Tsotsi was the 2006 Oscar-Winner for Best Foreign Film and it chronicled the evolution of a hoodlum who seemed beyond redemption. This very daring and similar drama by writer/director Guy Nattiv is equally emancipating in its own way. Bryon Widner (Jamie Bell, Film Stars Don’t Die in Liverpool), a twentysomething skinhead is bullied by his adoptive parents (Vera Farmiga, Bill Camp) who are violent white supremacists. Life changes for him when he meets a single mom (Danielle Macdonald, Patti Cake$). It takes an even greater turn when he comes under the watchful eye of social activist Darlye Jenkins (Mike Colter, Luke Cage), whose foundation, One People’s Project, specializes in converting neo-Nazis. This is possibly the biggest character arc you will ever see in a film. Tense, suspenseful, dramatic, romantic and cathartic. Excellent performances from all in this stick-to-your-ribs true story. Watching human garbage turn into human beings can be extremely gratifying. Excellent. 

What’s My Name: Muhammad Ali (***) Oscar-winner When We Were Kings focussed on Muhammad Ali’s “The Rumble in the Jungle” match. Does this doc have that much majesty? Almost. Director Antoine Fuqua (Training Day) takes a more all-encompassing approach. Using never-before-seen archival footage, and with a great sense of pacing (editor Jake Pushinsky), Fuqua highlights Ali’s pinnacles and low points. He explores the champion’s social activism and personal life. Details about his entry into boxing, teenage years, relationships with Malcolm X and Sam Cooke are on the screen. The most surprising revelation is that Ali’s decision to flaunt a larger-than-life egocentric persona was influenced by the flamboyant wrestler Gorgeous George. Most of the memorable quotes come from Ali’s lips. It’s like he’s reaching back from the grave to remind us how brash and brave he was. Illuminating. 

Films of Note

After Parkland (****) Rarely if ever does a film put a lump in your throat and a tear in your eye for its entire length. Be prepared to be awed, humbled and inspired by the Parkland, Florida victims, survivors and activists. You’ve seen their faces on the news, now you get a close-up look at the people behind the headlines and the indomitable spirit they’ve collectively created that is bound to bring about change. The kids and adults are so bright and articulate that their words carry the film:  “Someone was hunting my classmates.” “Bullets shred anything in sight. Tissue, walls, desks, backpacks.” “We’re going to change the world.” Expert technique and sensitive filming by directors Emily Taguchi and Jake Lefferman make this an Oscar-caliber documentary.

Crown Vic  (***) The cop/crime/thriller genre gets a healthy dose of personal drama in this L.A.-based film noir that’s rough around the edges. First-time feature film director/writer Joel Souza pairs up two L.A.P.D. cops. The older crusty patrol officer Ray Mandel (Thomas Jane, Boogie Nights) shepherds the naive rookie Nick (Luke Kleintank, TV’s Bones) on an overnight shift. Meanwhile, two bank robbers/killers are on the loose. Mandel’s chilling words: “Take your badge off and put it in the glove box.” Their policing takes a turn towards the gutter. The beginning of the film is marred by too much dialogue in a claustrophobic patrol car, which kills momentum. Souza adds in a funny scene with a drunk lady, friction with undercover cops (Josh Hopkins, David Krumholtz) and a search for a missing kid to spice up the night. Jane is the glue and mortar. The dialogue is strong too. Mandel: ‘People Sleep peacefully in their beds at night because rough men do violence on their behalf.”  Someone call 911!

The Kill Team (**1/2) Dan Krauss made a doc about a true-life incident involving an infantryman in Afghanistan in 2010 who dealt with a commanding officer who was violent to innocent locals and his platoon too. He’s turned that project into a feature film, with varied results. Actor Nat Wolff plays the soldier and Alexander Skarsgård stars as the disturbed leader who doles out harsh reality to his men: “We kill people. That’s what we do. Do you have a problem with that?” The enlistee is in a quandary that could take his own life. How would you react? That intriguing premise saves the film. Edited down to 87 minutes (editor Franklin Peterson), the footage is never attractive (Stéphane Fontaine), the performances are only decent and the emotion never runs deep. Still, this film tells a powerful story.

Linda Ronstandt: The Sound of My Voice (***1/2) Singing in Linda Ronstandt’s family was as common as Sunday dinner, and she had the best voice, too. As a teen in a sibling folk group she developed a sense of harmony and a performance presence that kick-started her career in L.A. In the music industry, she stood out as a woman in a man’s world. She led her own band, made her own career decisions and went through a world-famous metamorphosis: Folk, pop, rock, soul, light opera, big band and Mexican folk music—she did it all. Directors Rob Epstein and Jeffrey Friedman bless the footage with childhood photos, concert video and insights by Dolly Parton, Emmylou Harris and Bonnie Raitt. The very well-read Ronstandt herself pipes in with anecdotes and philosophies that underline her intelligence shed light on her battle with Parkinson’s disease. A trip down memory lane, done to the tune of Grammy-winning songs by rock n’ roll’s first female superstar. A visual and audio retrospective that sticks with you. 

The Quiet One (***1/2) The meek shall inherit the earth—and other stuff. Bill Wyman, the quietest musician in the Rolling Stones, is a historian. Director Oliver Murray gives the group’s bass player all the room he needs to shed light on his role as the band’s sober member. Fortunately for Stones fans, he was an avid collector of footage, photos and other memorabilia. You could almost classify him as a hoarder, except his stunning collection is so damn neat and organized. He’s stockpiled his knick-knacks in the most orderly filing system with documentation so elaborate it would shame a librarian. Hearing him talk about his idols Ray Charles, Chuck Berry, Muddy Water and Howlin’ Wolf is heart-warming. Behind-the scenes details about the Rolling Stones’ tragedies, fiascos and creative process are equally fascinating. Oddly, the film does not cover Wyman’s controversial relationship with a teenager. Special shout out to Tim Sidell’s gorgeous cinematography and Anne Perri’s astute editing. Wyman is a quiet treasure and so is this doc.  

Woodstock: Three Days That Defined a Generation (***) “Well I came upon a child of God, He was walking along the road, And I asked him, Tell me where are you going, And this he told me…” Director Barak Goodman and his co-writer Don Kleszy take audiences behind the scenes of Woodstock to the muddy fields, horrible weather and peace/love vibe that became the legend of the occasion. It’s an event that has never been repeated successfully. Still, from the viewpoint of the common people who went, we get a new perception that those “highly” spiritual and heady days were more than a one-time phenomenon, they spawned a vibe that far outlived the concerts. On the stages, in this temporary city of 400,000 hippies, musicians like Richie Havens, CSN, Jimi Hendrix and the bunch look like heroes, though not as quite as gusty or adaptable as the venue’s stunned promoters: John Roberts and Joel Rosenman. Refreshing and a complete joy to watch in this day and age of hate mongering. 

Tribeca is building a solid reputation as a film festival that values diversity, inclusion and new voices. It’s a champ at spotlighting emerging talent from around the U.S. and the world. 

It’s no wonder black films, artists, their fans and others are supporting the fest with their work, participation and attendance. 

For more information about Tribeca Film Festival go to: https://www.tribecafilm.com

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.

This article originally appeared in the Charleston Chronicle. 

Source: https://www.blackpressusa.com/black-films-and-artists-thrive-at-2019-tribeca-film-festival/