As Black people, we know that one of the fundamental things we've been robbed of is free time where we're not worried about poverty or we're not worried about dying, Ross told me in early October over lunch at a French restaurant in Lower Manhattan.
Nickel Boys starts with the camera staring at the open blue sky. Then the view appears to turn sideways, lingering on a nearby orange grove, only to return upward.
This seamless conflating of the art of looking and the act of being challenges how we watch movies and gives us a new way of experiencing Black people's humanity onscreen.
I am most proud of how RaMell responds to the absence of intimate, complex storytelling about Black life.
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