By Ray Pride Pride@moviecitynews.com

Jason Bailey

“Bigelow has spent much of her career making movies about men, about their interactions, transactions, and bravado, and it’s hard to think of another director who could better capture the tension of escalating, toxic masculinity. Considering her preoccupations and Boal’s attention to historical detail, it’s dispiriting that a strain of criticism has appeared insisting that, as a white woman, it wasn’t Bigelow’s place to direct this film, or that it was made “by white creatives who do not understand the weight of the images they hone in on with an unflinching gaze.” Putting aside the troubling bad faith assumed by such a charge, it’s worth wrestling with whether white filmmakers are to tell stories rooted in the history and struggles of people of color. There should be more African-American filmmakers with resources to tell stories like these; inclusion behind the camera should be the ultimate goal. But does that mean there’s a moratorium on those stories in the meantime? Would it be better for this tragedy to go untold than for it to be dramatized by a gifted director? Is she permitted only to tell stories about white people – and thus, put even more of them into a cultural marketplace that’s already saturated?  That’s everyone’s own call to make. If Detroit had been made by a person of color, it might have been a better film; it might not’ve. It would’ve certainly been a different film.”
~ Jason Bailey

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“Film festivals, for those who don’t know, are not exactly the glitzy red carpet affairs you see on TV. Those do happen, but they’re a tiny part of the festival. The main part of any film festival are the thousands of people with festival passes hanging on lanyards beneath their anoraks, carrying brochures for movies you have never and will never hear of, desperately scrabbling to sell whatever movie it is to buyers from all over the world. Every hotel bar, every cafe, every restaurant is filled to the brim with these people, talking loudly about non-existent deals. The Brits are the worst because most of the British film industry, with a few honourable exceptions, are scam artists and chancers who move around from company to company failing to get anything good made and trying to cast Danny Dyer in anything that moves. I’m seeing guys here who I first met twenty years ago and who are still wearing the same clothes, doing the same job (albeit for a different company) and spinning the same line of bullshit about how THIS movie has Al Pacino or Meryl Streep or George Clooney attached and, whilst that last one didn’t work out, THIS ONE is going to be HUGE. As the day goes on, they start drinking and it all gets ugly and, well, that’s why I’m the guy walking through the Tiergarten with a camera taking pictures of frozen lakes and pretending this isn’t happening.

“Berlin is cool, though and I’ve been lucky to be doing meetings with some people who want to actually get things done. We’ll see what comes of it.”
~ Julian Simpson 

“The difference between poetry and prose, and why if you’re not acculturated to poetry, you might resist it: that page is frightening. Why is it not filled? The two categories of people who don’t feel that way are children and prisoners. So many prison poets; they see that gap and experience it differently. I’m for the gap!”
~ Poet Eileen Myles