One Night in Miami: Telling a story through suits

by Cláudio Alves

Limitations aren't always the enemy of style or art. Tight parameters can be the fertile ground from which creativity grows and thrives. In the world of costume design, the dynamic between restraint and imagination is especially obvious when one needs to dress men in formal attire. Since the early 19th century, western men's fashion has solidified around a masculine uniform with little in the ways of variation – the suit. To find ways to make that fashion standard into a storytelling tool, one must excel at finding the little details that make all the difference. Recently, Regina King's One Night in Miami is a good example of this brand of costuming excellence…

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Interview: Kingsley Ben-Adir on playing Malcolm X in "One Night in Miami"

by Murtada Elfadl

Kingsley Ben-Adir is having a breakthrough year. In fact that’s the award he won at the Gothams on the same day I talked to him over zoom. He acknowledges that his performance in Regina King’s One Night in Miami is one that brought him more attention than any previous role. You may remember him as Zoë Kravitz’s ex- boyfriend in the short-lived Hulu series High Fidelity or from the Netflix series The OA. But it’s his performance as Malcolm X that’s being talked about this season for a possible best actor nomination at the Oscars.

One Night in Miami, adapted by Kemp Powers from his play, imagines a historic night in which four Black icons Cassius Clay (Eli Goree) before he changed his name to Muhammed Ali, Sam Cooke (Leslie Odom Jr.),  Jim Brown (Aldis Hodge) and Malcom X (Ben-Adir), come together in a Miami motel room in 1964 and debate their roles as leaders and celebrities at that moment in the Civil Rights Movement. Malcolm X is the one who set up the meeting and the one who has an agenda that becomes apparent as the night goes on. He’s at the center of the film giving Ben-Adir a marvelous opportunity to showcase his talent.

[The following interview has been edited and condensed for clarity.]

Murtada Elfadl: This film lives and dies by the interplay between the four actors. Can you talk about your relationship on set with Aldis, Leslie and Eli? There is passion to the performances and I think you're feeding off of each other. 

KINGSLEY BEN-ADIR: I think Regina very carefully hand-picked each of us. I chemistry tested with Leslie before I was cast...

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Review: One Night in Miami

by Matt St Clair

Regina King’s directorial debut One Night in Miami is a wonderful departure from the traditional biopic formula. Instead of focusing on key events from the lives of the famous, One Night in Miami  gives us a fictionalized, night-long conversation four iconic men might have been having at that exact moment in history. The titular night is February 25th, 1964, just after Cassius Clay’s boxing match with Sonny Liston and just before the famous athlete changed his name to Muhammad Ali.   

Malcolm X (Kingsley Ben-Adir), Cassius Clay (Eli Goree), musician Sam Cooke (Leslie Odom Jr.), and former NFL player Jim Brown (Aldis Hodge) gather together in a motel room to discuss the weight they carry as celebrities to help create social change through the Civil Rights Movement. Thanks to the lead actors, along with genius writing by Kemp Powers who adapted his own  play for the screen, we’re able to get a glimpse of the real people behind the iconic personas...

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Showbiz History: "Excuse me," Steve Martin. And Jim Brown as a film star

6 random things that happened on this day, January 9th, in showbiz history

1931 crime drama Little Caesar hits movie theaters making an unlikely star out of Edward G Robinson. It helped create the gangster drama and it's also of interest to queer movie fans since there's been debate for years about the titular character's sexuality. 

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Interview: Chinonye Chukwu on 'Clemency' and Alfre Woodard's astounding close-ups

by Murtada Elfadl

Anchored by a staggering performance from Alfre Woodard, Clemency is a powerful, precise and scorching indictment of capital punishment. We follow Woodard as prison warden Bernadine Williams, as she prepares to execute another inmate (Aldis Hodge), and deal with the toll, years of carrying out death row executions have taken on her life and relationships. 

Director Chinonye Chukwu won the Grand Jury Prize at the Sundance Film Festival last January. She started working on the film after Troy Davis was executed in a Georgia State prison in 2011, when “the sounds of the hundreds of  thousands who protested against his execution kept ringing in my ears, and I couldn’t help but wonder: if so many of us struggled with what had happened to Mr. Davis, what about the people who actually had to carry out his execution? What if some of them were also grappling with having to kill this man?”

We recently met with Chukwu in New York. [This interview has been edited and condensed for clarity.] 

Murtada Elfadl: Congratulations on the film. You start your movie with an execution, you end it with an execution. So it's these two bookends. That was a bold, strong choice. Can you talk about why you made that choice?

Chinonye Chukwu: I did that for a couple of reasons. One, to show Bernadine's arc and that she's not in the same place at the end as she was at the beginning of the story. Also, I wanted to get at the cyclicalness of the space of a prison that with or without her, this cycle of capital punishment is going to go on.

This film is very performance driven. Did you write it with Alfre Woodard in mind?

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