Tag: Haile Gerima

Director Merawi Gerima Wins Awards for Feature Debut “Residue” at 2020 Slamdance Film Festival

Director Merawi Gerima (photo via blackfilm.com)

According to deadline.com, writer/director Merawi Gerima’Residue  won the Audience Award at the 2020 Slamdance Film Festival, as well as receiving an Honorable Mention for the Grand Jury Prize.

First-time feature director Gerima is the son of acclaimed independent filmmaker Haile Gerima (Sanfoka). Merawi Gerima also produced and directed Residue, and his cast includes Obinna Nwachukwu, Dennis Lindsey, Taline Stewart, Jacari Dye, Julian Selman, Melody Tally, Ramon Thompson, and Derron Scott.  

Check out the trailer below:

Residue tells the story of Jay, a young man who arrives home to find his neighborhood gentrified beyond recognition. Demetrius, his childhood best friend, is missing, but none of the remaining black folks trust Jay enough to provide any answers. Jay’s frustration compounds as he also finds himself alienated in the city at large, attacked from all sides. Jay visits his last friend Dion in prison, but leaves feeling powerless and infuriated. One final, chance confrontation results in Jay succumbing to the same forces as did his friends.

Howard University has Become Incubator for Cinematographers

Matt McClain/For The Washington Post – Bradford Young poses for a portrait at Howard University on Monday January 28, 2013 in Washington, D.C. Young won the Excellence in Cinematography award at the Sundance Film Festival for his work on “Mother of George,” and “Ain’t them Bodies Saints.”

At the Sundance Film Festival last weekend, Howard University graduate Bradford Young won the dramatic-feature cinematography award for his work on the films “Ain’t Them Bodies Saints” and “Mother of George” — his second time accepting the honor, having won in 2011 for the coming-of-age drama “Pariah.”

The Sundance recognition reinforces what many in the industry have known for a few years now: Howard, best known for its law and medical schools, has become an incubator for people whose work with lighting, lenses, camera movement, film stocks and visual textures has profoundly influenced contemporary cinematic grammar.

“The interesting thing about it is that there is no formal cinematography department,” filmmaker Ava DuVernay says. “It’s jaw-dropping that you’ve had so many come out [of Howard] with such distinct styles.”

The floating-camera dolly shot and super-saturated color palette that are trademarks of Spike Lee’s work are the best known among several innovations that Howard-trained cinematographers have contributed to the films they’ve worked on. Early in his career, Lee developed these techniques in close collaboration with a Howard graduate, Ernest Dickerson.

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