FYC: Ruth Negga in "Passing"

by Cláudio Alves

Earlier in the awards season, I became discouraged at the thought that the year's best performance was doomed. Critics didn't rally behind Ruth Negga as I had hoped, and her film, no matter how spellbinding, looked likely to be ignored. Despite such worries the arrival of prominent Oscar precursors and industry awards has revitalized hope. After Globe and SAG nominations, Negga is poised to earn a second Academy Award nomination for her supporting turn as Clare Bellew in Rebecca Hall's cinematic adaptation of Nella Larsen's novel Passing. But of course, even when a nod feels secure, it's never a bad idea to gild the lily and remind folks of an actress's genius…

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Surprise Podcast! Nick & Nathaniel reunite to talk Campion, Zola, and *much* more

Since several of you have asked over the past couple of years, Nick Davis, who was once a weekly regular on both our podcast and his own site (haha) is fine! We spontaneously jumped on the phone to talk last month and recorded it. Apologies for waiting so long to share but you know how December is. So "Happy New Year!"

94 minutes
00:01 Reunited and it feels so good
01:40 Jane Campion's return with The Power of the Dog
13:35 The brilliance of Rebecca Hall's Passing which Nick has taught in book form for years
23:00 C'mon C'mon 
29:30 Quick feelings on King Richard, Dune, and  Licorice Pizza
40:12 Titane's anger and the atmosphere of The Humans
53:15 We split on The Worst Person in the World 
1:08:00 Quick feelings on tick tick BOOM!, Belfast, Prayers for the Stolen, and The Velvet Underground
1:14:00 Hating on Spencer together. We really dislike it, okay?
1:24:45 Loving on Zola together. Get into it, bitch!
1:31:30 "Deleted Scene" House of Gucci

You can listen to the podcast on iTunes, Stitcher or Spotify or right here, attached...

Power of the Zola

Passing: Finding the Grey between Black and White

by Patrick Ball

In Rebecca Hall’s devastatingly delicate Passing, light plays a powerful role. One I haven't seen in many films before. The use and placement of natural and artificial light introduces and reintroduces us to the characters over and over. Depending on how the situation suits them, they bask in it, hide from it, are able to play up their ruses, daring us to look a little closer, or cling to shadows, to the safety of the shade. 

As many of us in America came to a new and widened understanding of the foundational race issues in our country following the deaths of George Floyd and Brianna Taylor last year, and the resulting national reckoning that came after, I spent a lot of time considering how my experience as an “ethnically ambiguous” mixed-race black person has shaped my perception of race, and of media. In Passing, Tessa Thompson’s Irene wryly remarks to a white acquaintance that “we all are passing for something or another, aren’t we?” And isn’t that at the heart of the imposter syndrome we all feel at a new job or opportunity, the shades of ourselves we put on in social gatherings, the walls we build to hide our flaws and insecurities? There is something universal in the facade...

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Sundance: "Passing" review

by Jason Adams

I hope that after fifteen years of me writing on the internet you all will have an inkling of what a big deal it is for me to start a film review off with talk of Awards, a subject I normally pay very little attention to. Perhaps it's that this is my first Sundance -- I've heard people get exclamatory brains in these places, although it being virtual this year I don't have the excuse of the mountain's thin oxygen supply. But here's the deal -- if every single person involved with Rebecca Hall's directorial debut Passing isn't nominated for awards next season I'll eat my shoe. Hell I'll eat one of Ruth Negga's shoes, and they look complicated. Buckles and snaps. But seriously. Everybody gets an Oscar. Do they have Oscars for Craft Services? Give them an Oscar. They kept these geniuses fed well enough to make this beautiful, blessed film...

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Review: Sylvie's Love

by Matt St Clair

We're happily beginning to see a broader variety of black-centered period dramas. Although Sylvie’s Love does touch upon the racism of the 1950s, it's more concerned with showcasing romance than trauma. This light holiday viewing serves up an old-fashioned “one that got away” story that thrives on the simplicity of the romance genre. 

During the first act of Sylvie’s Love, the song “Fools Falls in Love” by The Drifters sets the tone for the entire picture. A song about the problem with falling in love too fast perfectly captures the conflict that Sylvie (Tessa Thompson), an aspiring TV producer, and saxophonist Robert (Nnamdi Asomugha) face after an encounter at a record store owned by Sylvie's father where she works...

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