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Do the right thing, do what you love

Spike Lee kicks off Montreal’s International Black Film Festival and talks film and racism in America

Legendary director Spike Lee talked filmmaking, racism in America and “Agent Orange” at the Cinéma Impérial on Sept. 26 as part of the 14th edition of the Montreal International Black Film Festival (MIBFF).

Moderated by MIBFF founder Fabienne Colas, “An Intimate Evening with Spike Lee” was two hours of valuable advice from the star whose latest film, BlacKkKlansman, won the Grand Prix at the 2018 Cannes Film Festival.

Lee had a lot to say about how to make it in the film industry. “I’m not going to stand on this stage, lie and tell you this stuff is easy,” he said. “People do not understand how hard it is in this industry… It is hard to make a horrible film. It is hard to make a horrible film, let alone a good film.”

Colas interjected with, “How hard is it, Spike?”

“Hard as shit,” he replied, adding that the idea of overnight success that has become popular with this generation is particularly harmful. “No such thing,” he said. “It doesn’t exist. You might not hear the hard shit, but nobody worthwhile just popped up out of nowhere.”

According to Lee, a common reason people don’t follow their dreams is because they feel pressured to make their parents proud. “Parents kill more dreams than anybody,” he said. “It’s not because they’re evil, but parents want more for their children than what they got.”

Adopting the persona of a stern parent, Lee continued: “Me and your mother have taken out a second mortgage on our house to put your black ass through school so you could be a poet? A dancer? A writer? As long as you’re black and in my house, eating my food, wearing my clothes, you’re going to get a good damn job, and you’re going to get paid every two weeks.”

The crowd erupted with knowing laughter. Lee looked out over the audience.

Parents, you know who you are … Please, do not crush your children’s dreams.”

Lee, who teaches film classes at New York University, asked the crowd to raise their hands if they’d seen any of the movies he asks his students to watch. He made his way through the list and then repeated the activity, this time naming the five Spike Lee movies he thinks are most important to see in terms of the messages they convey.

Lee said he was impressed by the amount of people who’d seen some of his lesser-known projects. He occasionally yelled, “Don’t lie!” when he suspected the audience might be trying to impress him. Was it so hard to believe that a theatre full of Spike Lee fans had actually seen most of his movies?

Colas commended Lee’s consistent activism through his films and documentaries—citing Do the Right Thing and 4 Little Girls as examples—and sought his opinion on the firing of American football quarterback Colin Kaepernick.

“Number one, the NFL is guilty of collusion,” Lee said, prompting what was easily the loudest audience reaction of the night. “In no way, shape or form was the act of kneeling about disrespecting the military and the flag. Americans can be stupid sometimes, and they took that, hook, line and sinker. That was about bringing light to how black people are treated in the United States of America,” he said, adding that the United States was built by black people after the land was stolen from Native Americans.

“The NFL owners, they’re going to be on the wrong side of history,” Lee said. He sighed and shook his head. “And then this guy in the White House: Agent Orange… I think the mistake some people are making when they look at Agent Orange is they think—when they look at BlacKkKlansman—that this doesn’t happen in the United States of America … It happens all over the world.”

Even today, I have meetings where I’m the only black person in the room. So a whole lot of work needs to be done.”

Lee urged the crowd to follow their dreams. “You do what it takes to do what you love,” he said. “I say my prayers every night because I’m doing what I love. The majority of the people on this earth go to their grave having worked a job they hate.”


BlacKkKlansman is currently screening at select theatres in Montreal.

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Spike Lee Presents King Of Pop Documentary at Concordia

Spike Lee brings Motown back to life with his latest documentary

Spectators were full of excitement at the Concordia Hall Theatre on Saturday, as students, families and reporters were graced with the presence of the well-known and occasionally controversial writer and director, Spike Lee.

Presenting his latest documentary Michael Jackson’s Journey from Motown to Off the Wall, Spike Lee was the guest speaker of honour for the second to last day of the 12th annual Montreal International Black Film Festival. Concordia had the honour of hosting both the screening and Spike Lee’s live Q&A with the audience after the show.

Upon his entrance in the theatre, Lee, dressed in his classic baseball hat and hoodie, acknowledged and thanked the audience for their applause. He then, to the spectators’ surprise, walked towards them and took a seat in his “reserved” row with his entourage, and watched his entire documentary film, laughing aloud alongside the audience.

The film itself is a fun, entertaining experience for all Michael Jackson fans. Opening directly with found footage, the audience is able to watch part of the King of Pop’s legacy and contribution to both music and the world. The film begins during Jackson’s childhood with the Jackson 5, and continues throughout the devastation of leaving Motown, to his days on Broadway, and recording Off the Wall. The film is one big party, making it difficult not to dance in your seat as songs like “Shake Your Body” or “Blame it on the Boogie” play.

This is a feel-good movie with many comedic moments. It engages the audience, and has the potential to inspire both long-time fans, and new admirers. Seeing Michael Jackson’s perfectionism and incredible work ethic is what makes this film worth watching.

The film has a large variety of interviews and commentary from people who knew him or who have been influenced by him, such as Stevie Wonder, Valerie Simpson, and The Weeknd. The film is nothing more than an entertaining summary documenting the albums from Motown to Off the Wall, as the title suggests. It rarely delves away from the performances and on-stage content. This performance documentary is not for viewers who wish to learn something new about Michael Jackson, or even the Jackson 5. It’s simply a blast from the past, focusing on the musicianship rather than the personal details of Jackson’s life.

If you’re looking for an informative biographical documentary on the legendary King of Pop, this film is not for you. On the other hand, if you are interested in seeing the transition of Jackson’s performance and music through interview commentaries and found footage, you will definitely enjoy this film.

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Arts

Lights, camera, take action

Black Film Festival gives new meaning to the term “moving picture” for its 10th anniversary

The 2014 Montreal International Black Film Festival (MIBFF) wrapped up over the weekend, leaving patrons and aspiring filmmakers in anticipation of next year’s program.  The festival screened nearly 100 independent films from around the world, many of which exposed festivalgoers to unfamiliar, and often uncomfortable, social commentaries. But the chilling themes of racial exploitation and gender violence that pervaded these MIBFF films were meant to move viewers, and inspire them to combat social injustice.

“The role of this festival is to educate audiences on black realities all over the world,” said Fabienne Colas, MIBFF founder and president.  “The films we screen are meant to make you think.”


Photo caption: Spike Lee received MIBFF inaugural Pioneer Award in recognition of his body of work. Photo by Sofia Misenheimer.

The Festival opened with Hope, a gripping narrative feature by French writer-director Boris Lojkine. Though Hope starts as a seemingly expectant tale of characters in pursuit of new beginnings, viewers must quickly adjust to the realism of harsh migrant life. The film follows the arduous journey of Cameroonian man, Léonard, and Nigerian woman, Hope, in their pursuit of an idealized European future. They meet while crossing the Sahara Desert, when Léonard instinctively defends Hope from the unwanted attentions of an aggressive fellow migrant.  Following her later rape and abandonment by another traveler, the two form a pragmatic bond. They slowly fall in love, but their relationship is violently tested in each ruthless underworlds they encounter over the course of the film.

Audience members seemed widely shocked by the film’s tragic progression and heartbreaking conclusion. This is understandable considering most Western blockbusters condition viewers to expect a happy ending. “Writing this story was not easy for me,” Lojkine said at a Q&A session after the premiere. The director described the years he spent researching African migration through Northern Africa to lend authenticity to his film. “I learned that hope is what pushes these people,” he said. That certainly comes across throughout the film, thanks to exceptional performances by an entirely non-professional cast.  In fact, Lojkine chose real-life African migrants, who survived many of the same experiences as their fictional counterparts, to play the film’s protagonists.

Of course, hope and social commentary were ongoing MIBFF themes. At a press conference last Wednesday, writer-director Spike Lee expressed hope for the future of the film industry. “When we have more people of colour in the room deciding what gets made and what doesn’t get made, [we’ll] have more diversity [of] subject matter,” he said.

This year marks the 25-year anniversary of Lee’s hallmark film, Do the Right Thing, 20 years since Nelson Mandela was elected president of South Africa, and five years since Barack Obama became the first black American president.  But the world has not changed enough for the better, according to Lee. “25 years ago I never would have thought there would be a black president… but there are more African Americans who are in poverty…  [and] there’s a greater divide between the have and have-nots,” he said.

With that in mind, it seems clear that Canada’s largest black film festival has every reason to expose viewers to eye-opening realities that may inspire them to change the status quo.

“Each film we play is relevant, has a purpose… [and] will touch people’s souls,” Colas said.  After all, knowledge and empathy, whether acquired from personal experience or from a moving film, is the only catalyst for widespread social activism and eventual change.

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