Sentences with phrase «white filmmakers»

Films by white filmmakers like Detroit, and more recently, the hotly contested Three Billboards Outside Ebbing Missouri, have the habit of only treating the bodies of black people as miserable and / or broken things.

Last summer's «Detroit,» a violent re-creation of the 1967 race - related riots in the Motor City, drew criticism over white filmmakers like Bigelow and Boal telling a story primarily about African - American issues.

The extras conclude with a grainy black and white Filmmaker Q & A session (31:48) shot at this year's Chicago Palestine Film Festival.

Sure, it's terrifying, but there needs to be more to art than that, especially with the racial undercurrents inherent in a pair of white filmmakers tackling a racially sensitive true story.

Finally, Oscar nominations turn into box offices successes for predominantly male, predominantly white filmmakers.

Last year's embarrassing Academy whiteout (#Oscarsowhite)-- rightly blamed on systemic guild imbalances favoring middle - age white filmmakers — has all but been forgiven, if not forgotten, in the wake of several black - themed Oscar frontrunners, including «Loving,» «Moonlight,» «Hidden Figures» and Denzel Washington's powerhouse adaptation of August Wilson's «Fences.»

Detroit, written and directed by white filmmakers, is suddenly decried as a story that never should have been told by the only people who wanted to tell it, and The Beguiled is not a film anyone can talk about without being made to feel guilty.

Conversely, Kathryn Bigelow, who (along with Mark Boal) desperately wanted to bring the story of the Algiers Motel to light, made Detroit, which unflinchingly illustrated such extreme police brutality that some film critics asserted that it wasn't her story to tell, being a white filmmaker.

While Black Caesar (1973, no credited costume designer) conforms to the overt blaxploitation model by starring a black lead actor, Fred Williamson as Tommy Gibbs (the part was originally written for Sammy Davis Jr.), and featuring a predominantly black cast, it was produced, written and directed by a white filmmaker, Larry Cohen.