Mixed Race Studies

‘Passing’ Stars Talk Rebecca Hall’s Directorial Debut and the Complexity of Racial identity

Variety
2021-02-01

Angelique Jackson

Rebecca Hall’s feature directorial debut “Passing” dives into the nuance of racial identity and the complex realities of racial passing, with Variety’s Sundance review touting Hall’s work: “This radically intimate exploration of the desperately fraught concept of ‘passing’ — being Black but pretending to be white — ought to be too ambitious for a first-time filmmaker, but Hall’s touch is unerring, deceptively delicate, quiet and immaculate.”

Intimate is a particularly choice word to describe the project, as the film’s story holds personal significance for all its cast — including stars Tessa Thompson and Ruth Negga, both of whom are mixed race — but the project is particularly connected to Hall’s personal story. Hall is the daughter of famed theater director Peter Hall and legendary opera singer Maria Ewing. And though the British actor presents as white, Hall in fact comes from a mixed-race background, with a generational history of passing on her maternal grandfather’s side.

“I don’t think that I really had language for passing. It was such a difficult area of conversation in my family,” Hall recalls, explaining her personal connection to the material in conversation at the Variety Sundance Studio presented by AT&T TV, just hours ahead of the film’s Sundance premiere…

Read the article and watch the video here.

‘Passing’ Review: Rebecca Hall’s Subtle, Provocative Directorial Debut

Variety
2021-01-31

Jessica Kiang

Eduard Grau

A superbly performed study of racialized longing and feminine dissatisfaction in 1920s New York, lit by searing intelligence and compassion.

t starts in sweltering heat; it ends in freezing weather. And in between, as the temperature gradually drops, Rebecca Hall’s “Passing,” based on Nella Larsen’s 1929 novel, calmly brings the diffuse racial landscape of prohibition-era New York City into crystalline, gorgeously shot focus. This radically intimate exploration of the desperately fraught concept of “passing” — being Black but pretending to be white — ought to be too ambitious for a first-time filmmaker, but Hall’s touch is unerring, deceptively delicate, quiet and immaculate, like that final fall of snow.

On a hot summer day, Irene (Tessa Thompson) is downtown on an errand. Her visible discomfort, the way she tries to retract into herself, to hide behind the gauzy brim of a hat that cuts her eyeline in two, is a silent evocation of how uncomfortable she is under the gazes of the white people around her. This time, anyway, she is mostly projecting: No one takes much notice, nothing too alarming happens. But then suddenly, stepping into the full beam of all that projection and sometimes catching the light, there’s Clare (Ruth Negga), a childhood friend visiting from Chicago, now unrecognizably glamorous, with a perfect swoop of blonde hair and arched, lightened brows framing silent-movie-It-Girl eyes…

Read the entire review here.

‘Mixed-ish’ Team on Why ‘All Stories About “Others” Are Necessary’

Variety
2019-09-14

BreAnna Bell

CREDIT: David Buchan/Variety/Shutterstock

The producers and cast of “Mixed-ish” are not out to tell a singular black and white story — but one that showcases and celebrates all shades in between.

“It’s important for me across the board in all of my work to talk about ‘otherness’ and identity and real, grounded characters,” showrunner Karin Gist told Variety at the PaleyFest Fall Previews panel for the new ABC comedy on Saturday. “This is just another example of that — an example of putting something up for everybody to talk about think about have conversations about through these characters that you fall in love with. It’s a story about ‘others’ that I think is necessary and I think all stories about ‘others’ are necessary.”

In the newest addition to Kenya Barris’ “ish” universe, Gist and fellow executive producer Peter Saji shine a light on “Black-ish” Johnson family matriarch Rainbow’s (played by Tracee Ellis Ross in “Black-ish” and Arica Himmel in “Mixed-ish”) origin story. The pilot begins when the hippie commune in which she was raised gets raided and her family has to move to the suburbs. The young Rainbow and her siblings (Mykal-Michelle Harris, Ethan William Childress) are left to navigate race and capitalism in the “real world.”…

Read the entire article here.

Documentary About Black Italian Boxer Who Angered Mussolini Makes Splash

Variety
2017-03-21

Nick Vivarelli, International Correspondent

Courtesy Istituto Luce

ROME – As Europe’s neo-fascists re-emerge and right-wing populism sweeps through the West, a documentary about a black Italian boxer who discredited Benito Mussolini’s racist ideology by winning a European boxing title is making a splash in Italy and abroad.

“The Duce’s Boxer” tells the story of Leone Jacovacci, an African Italian born in the Congo who won the 1928 European middleweight title by beating Mario Bosisio a white Italian boxer favored by the country’s Fascist leaders, in front of 40,000 fans in Rome’s National Stadium.

An infuriated Mussolini then ordered Jacovacci and his achievement erased from Italy’s history books. But 89 years later, Jacovacci’s story has resurfaced, with “The Duce’s Boxer” premiering Tuesday in 25 Italian cities to mark the U.N. International Day for the Elimination of Racial Discrimination.

Based on the book “Black Roman” by Italian sociologist Mauro Valeri, a former head of the country’s National Xenophobia Observatory, “The Duce’s Boxer” is directed by first-timer Tony Saccucci…

Read the entire article here.

First Look: Amandla Stenberg, George MacKay in Amma Asante’s ‘Where Hands Touch’ (EXCLUSIVE)

Variety
2017-02-08

Leo Barraclough, Senior International Correspondent

Courtesy of Tantrum Films/Pinewood Pictures

Variety has been given exclusive access to the first-look image from Amma Asante’s “Where Hands Touch,” which stars Amandla Stenberg (“The Hunger Games”) and George MacKay (“Captain Fantastic”) in a story of forbidden love in Nazi Germany.

Fifteen-year-old Leyna (Stenberg), daughter of a white German mother and a black father, meets Lutz (MacKay), the son of a prominent SS officer, and a member of the Hitler Youth. “They fall helplessly in love, putting their lives at risk as all around them the persecution of Jews and those deemed ‘non-pure’ slowly unfolds,” according to a statement. “Does their love stand a chance amidst violence and hatred?”…

Read the entire article here.

Toronto Film Review: ‘Barry’

Variety
2016-09-10

Owen Gleiberman, Chief Film Critic

Devon Terrell in Barry. Courtesy of TIFF

Set in 1981, a canny and absorbing drama paints a highly convincing portrait of Barack Obama when he was a 20-year-old college student in New York, still piecing together who he was.

In the movie world, there is often a fine line between coincidence and karma. It’s not really all that hard to fathom how two filmmakers, within a year of each other, could each come up with the notion of making a kind of snapshot biopic about the young Barack Obama. Yet the fact that both movies are emerging near the tail-end of the Obama presidency is surely no accident. The time has come to take stock, and Obama, at the twilight of his leadership, with eight years of policy and scrutiny, controversy and (yes) celebrity behind him, is ripe for the kind of mythological intimacy that the movies, perhaps uniquely, can provide.

“Southside With You,” the Sundance hit that was released into theaters just two weeks ago, is a deft and observant talkathon that turns Barack and Michelle Obama’s first date into a touching political spin on “Before Sunrise.” The Barack of that movie, which is set on a single day in 1989, is still finding his way, but he’s already a precocious young version of the Obama we know: impeccable and confident, a fusion of insight and arrogance and clarity and empathy, speaking in those rolling information-age cadences.

The Barack Obama we meet in “Barry,” on the other hand (a movie set eight years earlier), is a very different sort of cat, a young man you feel you scarcely know at all, because he doesn’t totally know himself — which turns out to be the theme of the movie. As played by the canny Australian actor Devon Terrell, he’s not even Barack yet, he’s just Barry, rolling with the punches, a slightly gawky handsome angular dude with a fringe of Afro and a way of falling into pensive trances when he’s chain-smoking. Terrell nails the clipped vibe of awareness, and a youthful version of the stare, to an uncanny degree. His Barry is reasonably self-possessed, with a lot of ideas, but he doesn’t have a clue as to how they fit together. He’s not the talkative lawyer-professor we’re used to. He’s tentative, his brashness weighed down by hidden doubts…

Read the entire review here.

Taraji P. Henson Is a Math Genius in ‘Hidden Figures’ First Trailer

Variety
2016-08-15

Dave McNary, Film Reporter

Taraji P. Henson, Octavia Spencer, and Janelle Monae break the glass ceiling — among other barriers — in the first trailer for the NASA drama “Hidden Figures,” which debuted Sunday night during the Rio Olympics.

The teaser opens with Henson’s Katherine Johnson character as a young girl, filling up a classroom blackboard with mathematical formulas, prompting her teacher to tell her parents, “I’ve never seen a mind like your daughter has.”…

In addition to Henson, Spencer portrays Dorothy Vaughan and Monae plays Mary Jackson as a trio of brilliant African-American women working at NASA, who served as the brains behind the 1962 launch of astronaut John Glenn into orbit — a stunning achievement that turned around the Space Race…

Read the entire article here.

Misty Copeland Opens Up About ‘Lack of Diversity’ in Ballet World

Variety
2016-04-09

Misty Copeland spoke from the heart at Variety’s third annual Power of Women New York event about her journey “from living in a motel to dancing on the stage of the Metropolitan Opera House.”