Afgelopen vrijdag is de nieuwe film Dear White People uitgekomen in de bioscoop in de VS. Het afgelopen weekend zijn er ook een aantal artikelen aan geweid. Lees de vier die ik het meest interessant vond.
Recensent van New York Magazine Bilge Ebiri heeft de film gezien en vond het subliem.
Justin Simien’s Dear White People positions itself as a skewering of racial attitudes among students and faculty at a prestigious university, but at heart, it’s a touching, even earnest story about acceptance — or rather, our longing for said acceptance. That the film’s satire isn’t contradicted by its sincerity is certainly a testament to the talents of this young director and his impeccable cast. But it also maybe says something about our own racial moment. The film is called Dear White People, but it might as well be called Dear Everybody. It’s hilarious, and just about everyone will wince with recognition at some point in the film.
Schrijver Alexis Wilkinson laat in Salon weten waarom zij in eeste instantie een vreemd gevoel kreeg tijdens het kijken van de trailer.
Upon reflection, I found the source of my original discomfort. I was uncomfortable with the obtuse simplification of race relations on selective college campuses. I was disappointed that instead of getting at how much we try not to talk about race, how much we bury it so deep, obscure it, and shove it into a neat departmental box with some safely meaningless name like “African and Afro-American Diasporic Urban Race Theory and Culture Studies,” “Dear White People” shows a campus that makes everything about race–where a radio show called “Dear White People” is even allowed to exist in the first place.
3. ‘Dear White People’ Filmmaker Talks Blackface, Interracial Dating, And Why White People Touch Afros
Jessica Goldstein heeft Justin Simien, de maker van de film, geïnterviewd voor Think Progress.
What I wanted to do, with Sam’s character, is create someone who authentically had an opinion, a point of view, who then became a spokesperson, and then that identity became too constricting for her. Which I think is ultimately really what that piece failed to understand: a black woman can be many things. Just because she’s passionate and engaged; “angry” is a very lazy way to describe the complexity of Shonda Rhimes. And I think there’s even a line Sam has, she says “I’m tired of being the angry black chick.” She was angry at a certain point in her life, and she communicated that, and now she has to always be that in order to hold up the movement. And that’s what I wanted to talk about with her character.
Op Orchestrated Pulse schrijft RobtheIdealist dat hij de film een goeie werkgelegenheidsproject voor zwarte makers vindt maar ziet verder dan dat geen reden om de film te gaan zien.
Dear White People is, first and foremost, a film about racial identity. From the initial @DearWhitePeople Twitter account, to the new film, Justin Simien, the film’s creator, has attempted to address the “mostly harmless” aspects of interpersonal race relations. But there’s nothing harmless about racism, so from jump, I knew the politics behind this film were suspect. […]
Dear White People is not an attempt to take the complex set of experiences, histories, and structural forces that make up White supremacy, and present them in a way that is accessible and engaging. Rather, it strikes me as diversity propaganda that in no way challenges, or even questions, White institutions and their power to define our lives and deaths.