The Gene Siskel Film Center presents programming in the spirit of the Black Harvest Film Festival all year long!
2019, Sam de Jong, USA, 88 min.
With Slick Woods, George Sample III
- Fri, Feb 21st 4:30pm
- Fri, Feb 21st 6:15pm
- Sat, Feb 22nd 7:45pm
- Sun, Feb 23rd 4:45pm
- Mon, Feb 24th 7:45pm
- Tue, Feb 25th 6:00pm
- Wed, Feb 26th 8:15pm
- Thu, Feb 27th 6:15pm
“Full of attitude and bursting with scrappy New York style…explodes with energy and hope.”—David Ehrlich, Indiewire
“Suspension between can-do spirit and come-down reality pumps blood into the irrepressible heart of this scrappy tale, along with the natural charisma of model Slick Woods.”—David Rooney, Hollywood Reporter
An extravagant ankle-length neon-yellow fur coat becomes the focus of desire and the symbol of dreams of fame for Goldie (model and Rihanna muse Woods), an 18-year-old Bronx woman living in a homeless shelter with her mom, her adoring little sisters Sherrie and Supreme, and her mom’s drug-dealer boyfriend. GOLDIE pulsates with energy, bumped to the max at every turn by Woods’s abundant charisma and eye-popping street style, enhanced by Dutch director de Jong’s use of colorful graffiti-like animation overwriting the images. Radiating optimism fueled by driving ambition and an impressive sense of self, Goldie prepares for an entry-level gig as a backup dancer in a hip-hop video, the break that she imagines will make her a star. Reality is dangling a different possibility when the family is evicted from the shelter, mom is arrested, and the two little girls become the sole responsibility of their big sis. Music by Emmy-nominated composer Nathan Halpern. DCP digital. (BS)
1982, Horace Jenkins, USA, 105 min.
With Richard Romain, Tommye Myrick
- Fri, Feb 14th 4:00pm
- Fri, Feb 14th 8:00pm
- Sat, Feb 15th 2:00pm
- Sat, Feb 15th 8:15pm
- Sun, Feb 16th 5:15pm
- Mon, Feb 17th 6:00pm
- Tue, Feb 18th 8:15pm
- Wed, Feb 19th 6:00pm
- Thu, Feb 20th 8:15pm
"A major rediscovery…[Jenkins] lends the intimate tale a vast and vital resonance."—Richard Brody, The New Yorker
Unseen for over 35 years, this mature and soulful romance was considered lost until the chance discovery of a 35mm negative led to its recent recognition as a classic of African American cinema. Returning to his hometown in rural Louisiana, former college football star and aspiring poet Peter Metoyer (Romain) quickly strikes sparks with local girl Maria Mathis (Myrick). Their budding relationship is threatened by complicating factors, starting with Peter's background as a light-skinned Creole whose ancestors owned slaves. Intended as a corrective to the blaxploitation cycle, the film is remarkable for the way it maps its central romance against the complexity of the African American experience, inflected by such factors as history, class, religion, colorism, and feminism. But, for all its cultural breadth, CANE RIVER is first and foremost a full-throttle love story, boosted by lyrical photography; a beautifully integrated, partially sung music score; and the lead performances of two attractive actors with chemistry to spare. New 4K DCP digital restoration. (MR)
2019, Kasi Lemmons, USA, 125 min.
With Cynthia Erivo, Leslie Odom Jr.
"A rousing and powerful drama."—A.O. Scott, The New York Times
"I made a decision early on I wanted this to be a movie you could take a sophisticated 10-year-old to. He could see it with his grandmother, and they could both really enjoy it."—Kasi Lemmons
Harriet Tubman, one of the most heroic figures in American history, gets a long-overdue screen treatment in this stirring biopic of the young slave woman who escaped to Philadelphia and then returned time and again to lead other slaves to freedom. Director Lemmons (EVE'S BAYOU) said that she wanted to avoid both "slavery porn" and the "fuzzification" of African American heroes. As brought to life by the intense and edgy performance of Cynthia Erivo (Tony-winner for The Color Purple), Harriet comes across as believably obstinate, impulsive, and passionately, even recklessly driven. Lemmons makes frequent use of gospel hymns and Harriet's mystical visions to underscore the importance of music and spirituality in African American life, while the effective use of Nina Simone's "Sinnerman" and action-movie tropes (including shout-outs to THE FUGITIVE and JAWS) give the film a more contemporary resonance. DCP digital widescreen. (MR)