A self-absorbed Black American fashion model on a photo shoot in Africa is spiritually transported back to a plantation in the West Indies where she experiences first-hand the physical and ... See full summary »
Native Americans in Los Angeles. For 12 hours one Friday night, from late afternoon until dawn, we follow a handful of urban Indians. Yvonne is pregnant, commenting on her life and dreams ... See full summary »
Languid look at the Gullah culture of the sea islands off the coast of South Carolina and Georgia where African folk-ways were maintained well into the 20th Century and was one of the last ... See full summary »
The Ethiopian intellectual Anberber returns to his native country during the repressive totalitarian regime of Haile Mariam Mengistu and the recognition of his own displacement and ... See full summary »
Stan works in drudgery at a slaughterhouse. His personal life is drab. Dissatisfaction and ennui keep him unresponsive to the needs of his adoring wife, and he must struggle against ... See full summary »
Henry G. Sanders,
Jean-Louis Trintignant plays a French contract assassin hired by a Los Angeles crime family, ostensibly to perform a hit on some other mafia target. But simultaneously, as he arrives to do ... See full summary »
Several lost-soul night-owls, including a nightclub owner, a talkback radio relationships counseller, and an itinerant stranger have encounters that expose their contradictions and ... See full summary »
Lesley Ann Warren
Martinique, in the early 1930s. Young José and his grandmother live in a small village. Nearly everyone works cutting cane and barely earning a living. The overseer can fine a worker for ... See full summary »
Bush Mama (1979) was written, produced, edited, and directed by Haile Gerima. An actor know as Barbarao (Barbara O. Jones) plays Dorothy. Dorothy's husband is in prison, and we're told he's innocent. Dorothy has a teen-age daughter, and Dorothy is pregnant.
Dorothy is frequently visited by her welfare caseworker, who, although African-American, represents the power of the establishment. She's not all alone--she has friends who care about her. One of them tells her, "We'll all take care of you and the baby." Dorothy gives the realistic answer, "How can you take care of me? You don't have anything yourself."
The question for Dorothy is whether to have the baby or terminate the pregnancy. The caseworker wants her to terminate the pregnancy. Dorothy is ambivalent. Telling more of the plot in this review would be inappropriate.
This is a powerful indictment of the economic, social, and psychological situation in Watts in 1979. I wish I could say, "That was then. This is now." However, we all know it's not true.
We saw this movie at the excellent Dryden Theatre in the George Eastman Museum in Rochester, NY. It will work well on a small screen.
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