Jamaa Fanaka, 1976, USA, 100 min

Virtual Q&A w director Jamaa Fanaka’s granddaughter & biographer Khadijah Fanaka

Fanaka's second feature, EMMA MAE, tells the story of a naive young woman who moves from the Deep South to Watts. Initially finding herself at odds with her surroundings, Emma eventually gains acceptance from a local drug addict and dealer. But when he's arrested and jailed, she plans a daring bank robbery to bail him out... Featuring a cast of mostly non-professionals and shot entirely on location in Watts, this uniquely subversive action film is an insider's view of black, working-class LA neighborhoods.

Melvin Van Peebles United States, USA, 1971, 97 min

A landmark of Black and American independent cinema that would send shock waves through the culture, Sweet Sweetback’s Baadasssss Song was Melvin Van Peebles’s second feature film, after he walked away from a contract with Columbia in order to make his next film on his own terms. Acting as producer, director, writer, composer, editor, and star, Van Peebles created the prototype for what Hollywood would eventually co-opt and make into the blaxploitation hero: a taciturn, perpetually blank-faced performer in a sex show, who, when he’s pushed too far by a pair of racist cops looking to frame him for a crime he didn’t commit, goes on the run through a lawless underground of bikers, revolutionaries, sex workers, and hippies in a kill-or-be-killed quest for liberation from white oppression. Sweet Sweetback’s Baadasssss Song’s incendiary politics are matched by Van Peebles’s revolutionary style, in which jagged jump cuts, kaleidoscopic superimpositions, and psychedelic sound design come together in a sustained howl of rage and defiance.

Melvin Van Peebles, 1967, USA, 86 min

Melvin Van Peebles’s edgy, angsty, romantic first feature could never have been made in America. Unable to break into a segregated Hollywood, Van Peebles decamped to France, taught himself the language, and wrote a number of books in French, one of which, La permission, would become his stylistically innovative feature debut. Turner (Harry Baird), an African American soldier stationed in France, is granted a promotion and a three-day leave from base by his casually racist commanding officer and heads to Paris, where he finds whirlwind romance with a white woman (Nicole Berger)—but what happens to their love when his furlough is over? Channeling the brash exuberance of the French New Wave, Van Peebles creates an exploration of the psychology of an interracial relationship as well as a commentary on France’s contradictory attitudes about race that is playful, sarcastic, and stingingly subversive by turns, and that laid the foundation for the scorched-earth cinematic revolution he would unleash just a few years later with Sweet Sweetback’s Baadasssss Song.