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1-6 of 6
- A fisherman, a smuggler, and a syndicate of businessmen match wits over the possession of a priceless diamond.
- In 1839, the revolt of Mende captives aboard a Spanish owned ship causes a major controversy in the United States when the ship is captured off the coast of Long Island. The courts must decide whether the Mende are slaves or legally free.
- A poor boy befriends a girl from a rich family who disapprove their relationship.
- THE LANGUAGE YOU CRY IN tells an amazing scholarly detective story that searches for, and finds meaningful links between African Americans and their ancestral past. It bridges hundreds of years and thousands of miles from the Gullah people of present-day Georgia back to 18th century Sierra Leone. It recounts the even more remarkable saga of how African Americans have retained links with their African past through the horrors of the middle passage, slavery and segregation. The film dramatically demonstrates the contribution of contemporary scholarship to restoring what narrator Vertamae Grosvenor calls the "non-history" imposed on African Americans: "This is a story of memory, how the memory of a family was pieced together through a song with legendary powers to connect those who sang it with their roots."
- Somewhere undefined, half-way between empty office spaces and abandoned shopping mall, a young man drops to the ground in slow motion. Walls rot, the mail piles up behind closed doorsteps. Peering through window panes, another young man observes an enigmatic ballet as two elegant young women invert the urban desert and make it into a playground for their subversive imagination. Under cover of re-appropriating the deserted apartments and offices, they engage in strange poetico-political acts, part situationist, part Oulipian. They slip papers and pink, yellow, and green chips under the doors, sowing existential formulas on clothes tags... Negative Path's minimal intrigue amounts to the boy's initiation to the rites and mysteries of the secret society, and the playful seduction it allows for. Script and direction work through subtraction : of drama, of weightiness, of any kind of explanation to the situation. A strangely worrying end-of-the-world atmosphere pervades the empty city, but the catastrophe has already taken place. A few signs hint at its nature : an economy in full and definitive decrepitude, like a collapsological extrapolation of the repeated crises that have struck Argentina. The film's singular beauty owes to the contrast between the portrait of a world in the terminal stages of its collapse, and the supreme elegance, the high-fashion care with which Alan Martin Segal tailors his shots, sets up the frame, lighting, and sounds. But don't let that trick you : under their fun and chic appearance, the negative path taken by the film and its characters is of the highest political consequence. Let the world run to its end to regain life. Create nothingness, then give shape to nothingness. Undo the world, empty it, and make of your life a form moving through free space. Elegance as the ultimate resistance.