#thephotograph

[fruitypebbl3zz]

[dailyasiandollz]

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📸 @thephotographer

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[ivabellini]

Posted @withrepost • @inamili_ #instagram #foto If roses tried to be sunflowers, they would lose their beauty; and if sunflowers tried to be roses, they would lose their strength... 🌻 📸 @ivanleonardoc #sunflower #quotes #neverstopshining #lastdaysofsummer #sun #summeringermany #yellow #green #maisfeld #nevergiveup #strongwomen #selfie #blonde #girl #greeneyes #picoftheday #love #thephotograph #editedbymadamecharlie https://www.instagram.com/p/Cmcw0nOKqzy/?igshid=NGJjMDIxMWI=

[sbrauthor]

“Tell me not, in mournful numbers, Life is but an empty dream!

For the soul is dead that slumbers and things are not what they seem.” - From THE PHOTOGRAPH : A Short Story by S. B. Ryder

[melanious]

“The photograph” was cute, i liked it, idk why everyone said it sucked

[missdior4]

Yes yes

[sazvariboy]

#Repost @jujuwebseries • • • • • • 🚨 TODAY IS THE LAST DAY!! 500+ people believe in our vision for season two of @jujuwebseries! Thank you so much for believing in our project.⁣ ⁣ We need at least 500 more people to back our project. If we don't make our goal by 𝐌𝐚𝐫𝐜𝐡 𝟒𝐭𝐡, we 𝐰𝐨𝐧'𝐭 get funded. ⁣ ⁣ 𝐋𝐈𝐍𝐊 𝐈𝐍 𝐁𝐈𝐎.⁣ ⁣ #jujuwebseries #witchszn #blackhistorymonth #blackgirlcoven #blackwitchesofinstagram #witchesofinstagram #spiritualblackgirls #witches #coven #beyonce #rihanna #webseries #supernatural #horrornoire #afrofantasy #youtube #crowdfunding #seedandspark #thephotograph #womeninfilm #femalefilmmaker #directher #ava #scifi #indiefilmmakers https://www.instagram.com/p/B9Ur3S8FU4h/?igshid=1gj750e7c8e85

[adamwatchesmovies]

The Photograph (2020)

The Photograph is a little slow to start but bear with it. The wait is worth it. You might even earn extra points for finding a movie with black leads that shows them simply as people.

After the unexpected death of famed photographer Christina Eames (Chanté Adams) her daughter, Mae Morton (Issa Rae) receives a letter. In it, Christina tells Mae what she couldn't while alive. A photograph included with the letter causes Mae to cross paths with a journalist researching Christina's past, Michael Block (Lakeith Stanfield). They connect and begin an unexpected romance.

The film’s plot is nothing revolutionary. You basically take your standard romantic comedy, strip away the stupid stuff we hate, replace it with real-life emotions, dial down the comedy, crank up the drama, and there you go. Does it make aspects of this picture by Canadian director Stella Meghie (who also writes) as predictable as a bouquet of flowers on February 14th? Maybe, but who’s going to say “no” to roses? Here, Issa Rae cements herself as an actress to watch. She’s vulnerable and strong, funny, and sexy with ease. As Mae begins recognizing her late mother as a woman with the same kind of insecurities and fears as anyone else instead of just “a mother”, Rae gets to show off her acting chops. She makes the slow story compelling. The way it comes together during the conclusion is particularly satisfying.

You could’ve made the film just about that internal relationship but it would’ve been dry. Intrigue is thrown in via the flashbacks to her Mae's mother. What's the big secret she's hiding? Sweetening the deal are a few moments of comedy with Lil Rel Howery as Michael’s brother. He’s quickly becoming one of my favorite black actors. Is he going to be a leading man? I’m not sure but he steals every scene he’s in. He makes you laugh but knows when to drop just the right amount of truth to go straight for your heart.

There’s drama, even some comedy here and the clencher is Lakeith Stanfield plus Issa Rae. They have terrific chemistry. You just want them to get together but you're in no rush. Seeing their flirtation is part of the fun. You’re anticipating their first kiss, their first night together. While Rae is playing someone completely different from what you've seen before, Stanfield is playing a character not all that dissimilar in demeanor from the man in "Sorry to Bother You" but the role fits him like a glove. Michael’s uncertainties are just enough to keep you wondering if the drama will have a happy ending without any of the turmoil feeling contrived or artificial.

The Photograph uses its stars well. Their chemistry goes a long way. As does the drama. If you’re taking a date to the theater - perhaps a belated Valentine’s Day outing? It won’t be long before you’ve both got your arms around each other. (Theatrical version on the big screen, February 16, 2020)

[lost-in-702]

Can we talk about how COMPLETELY NECESSARY this film is?!? This is the film I've waited my entire adult life for. It has been exactly 2 years since BLACK PANTHER gave us a new representation of rich narratives that we could embrace after years of portrayals that we won't bother dusting off.

THE PHOTOGRAPH is a fascinating tale that explores generational and possibly inherited traits of complexity that two individuals must face in order to overcome the murky waters of dating and love. Issa Rae's, Mae and Lakeith Stanfield's, Michael are real people. Exceptional people, that have carved out success for themselves and fate has placed them in each other's path. No drama, none of the usual nonsense we've become all too familiar with in these love stories, just two mature, melanin-rich, beautiful folk attempting to make it work.

Well written, well directed and exceptionally acted. Please support this movie. We need to ensure its success to make certain the next 50 films of this caliber are greenlit. Pass this along, word of mouth is imperative and we need to do all we can to make the second weekend huge.

[dailyasiandollz]

Follow this babe!!! 💕💕💕@kelsiecho 😍😍😍

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📸 @thephotographer

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[mwgaybachelor]

He turned and Michael was standing over in another area of the basement near some older, dustier boxes.  Those boxes must have been where some of Michael’s things were.  He pointed at one and Michael shook his head yes, and he brought it and put it on a small table sitting there.

It was a colored photograph Faded, however he could now clearly make out Michael and Charles standing next to one another, Charles had his arm draped over Michael’s shoulder.  Michael was smiling, and Charles had a huge grin on his face, ...almost eerie looking Theo thought to himself.

[brandonimhotep]

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[lightmusick]

Yooooo if you like Romance movies The Photograph is a good one!! SPOILER ALERT read my reaction afterwards. Cheers!

[thecurvycritic]

#TBT to that first time I attended the Toronto International Film Festival and made John David Washington sing a little Al Green for me like he did in @monstersandmenfilm with @kelvharrjr Since this photo they gave both gone on to make amazing art while growing both as men and artists in cinema #goodtimes #tiff #rememberthetime #monstersandmenfilm #luce #malcolmandmarie #tenet #waves #thephotograph #trialofthechicago7 #thehighnote #bolden #mudbound #assassinationnation #godfatherofharlem https://www.instagram.com/p/CNte29iLywY/?igshid=om7uptyvf9c9

[doomonfilm]

Thoughts : The Photograph (2020)

2020 ended up being a surprisingly strong year in film, as I’ve mentioned before.  It was so surprisingly strong, in fact, that I’ll likely spend a bit of 2021 checking out the films that I missed.  With Black History Month in the home stretch, and having recently taken in a brilliant Lakeith Stanfield performance in Judas and the Black Messiah, now felt like the perfect time to take a small step backwards and finally take in The Photograph.

Michael Block (Lakeith Stanfield), a writer for The Republic, heads to Louisiana post-Hurricane Katrina to interview New Orleans resident Isaac Jefferson (Rob Morgan).  During the initial interview, Michael notices a picture of Christina Eames (Chanté Adams) taken by Isaac that piques his curiosity.  Meanwhile, New Yorker Mae Morton (Issa Rae) is reeling from the recent death of her estranged mother, the same Christina Eames from Michael’s picture of interest, by reading a leader penned to her by Christina.  The letter speaks of Christina’s journey from New Orleans to New York in the mid-1980’s, which entailed leaving her lover Isaac Jefferson (Y’lan Noel) behind to pursue her career as a photographer while trying to raise a young Mae (Dakota Paradise).  At the same time, Mae is working her own way through a complicated romance with Michael, who has discovered her via Isaac’s connections.  The two quickly connect, but Mae’s journeys through the past and Michael’s desires for his future present obstacles in the way of their love.

There’s something bittersweet about the normalization of Blackness in a dramatic romantic context, but films like The Photograph prove that this is a sorely needed element in the overall spectrum of film.  Even Love Jones, the closest immediate equivalent to this film I can conjure, spends a solid amount of time identifying its love as specifically Black, rather than Black characters falling in love similar to the way two individuals from any race or background are capable of.  The way that The Photograph wears its Blackness on its sleeve through nuance rather than statement humanizes all the characters involved while simultaneously inviting others into the world rather than holding others up in comparison.  The film is also able to navigate intimacy and conflict within the confines of burgeoning love without resorting to extremes, which is another refreshing aspect of the film, as most times these aspects serve as some sort of metaphor for bigger power struggles between cultural and sexual identities when normally placed in the Black film construct.

Paralleling the romantic journey of Mae and Michael with that of Christina and Isaac opens both us and Mae up to a world of discovery, especially in light of the estrangement Mae feels from Christina in the wake of her death.  Making Christina’s revelations mirror Michael’s aspirations, and having Mae watch both unfold to her in the same span of time, sews together both stories so cleanly that it’s not hard to take them in as a packaged deal.  In many ways, the generational aspects of the love, honesty and respect shown in The Photograph are new and bold, which is incredibly ironic in its own right as trauma seems to be the only thing we are familiar with seeing handed down generationally in many Black films.  While the film is not absent of trauma, what it really is hoping to provide us is a generational opportunity for discovery of a deeply introspective nature that anyone can identify with regardless of where you come from.

Much like the varied approaches to love we are presented with, the narrative shifts between modern day New York and mid-1980’s Louisiana broaden our emotional perspective.  The soundtrack works in a similar way, laying out a string of modern and classic R&B that drives home the timeless nature of love’s peaks and valleys.  While they truly serve no purpose other than identifying where a particular portion of the story is taking place, the New York and Louisiana locations chosen perfectly embody their particular geography and characteristics without leaning on the familiar.  The cinematography bounces between artistic and utilitarian, much like life and love itself, but it is always honest and non-judgemental.

As the spiritual center of the film, Chanté Adams carries so much strength, determination and longing for improvement that it carries both the narrative, and us as viewers, through the film as we feel every second of her emotional ups and downs.  The world needs more of Lakeith Stanfield’s kindhearted nature and casual charm in leading man roles, as it is easy to imprint the best qualities we see in ourselves onto him as a protagonist.  Amazingly, I’ve not taken in much of Issa Rae’s work, but at the risk of sounding cliché, her ability to focus realness in her characterizations fills up the screen.  Lil’ Rel Howery and Teyonah Parris display wonderful chemistry, and Parris steps up to the plate in terms of matching Howery’s quick wit.  Y’lan Noel and Rob Morgan bring Isaac Jefferson to life, both in his youthful pride and his regret from lived experience, respectively.  Appearances by Kelvin Harrison Jr., Jasmine Cephas Jones, Chelsea Peretti, Wakeema Hollis, Courtney B. Vance, Maxwell Whittington-Cooper, Marsha Stephanie Blake, Phoenix Noelle, Rylee Gabrielle King and Dakota Paradise, among others, serve to populate the world of the film.

While I have become used to seeing films like The Photograph get overlooked when awards season rolls around, it feels like the film industry dropped the ball by not at least recognizing the acting efforts in the film.  With Hollywood often finding itself on the receiving end of criticism for a lack of diversity, honoring films like The Photograph feels like easy steps in the right direction that could be taken, but often are not.

[illmatikthemayor]

The reason i am now a fan of “ The Photograph” is because it’s a movie of just love and there’s not hidden message . The fact that they both are in the midst of love gives it a vibe in itself