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FILM REVIEW: Queen & Slim
NNPA NEWSWIRE — Queen & Slim is on its own path. Groundbreaking for its rich, layered storytelling (Lena Waithe, Emmy-winner TV’s Master of None), stylish direction (Melina Matsoukas, Grammy-winner Best Music Video Beyoncè: Formation), provocative contemplations on race and police abuse and two performances that will redefine how black men and women are portrayed on screen.
By Dwight Brown, NNPA Newswire Film Critic
It’s lyrical. Like an extended poem with waves of emotion, heady rumination, love proclamations and lost souls gathering around a common issue.
Some will recollect the true-life story of Bonnie and Clyde, but they gained fame for crimes and robbing banks. A closer comparison is Thelma & Louise, two feminist icons who were pushed into rebellion. Yet their story never involved an intimacy between the two that included sexual attraction and love.
Queen & Slim is on its own path. Groundbreaking for its rich, layered storytelling (Lena Waithe, Emmy-winner TV’s Master of None), stylish direction (Melina Matsoukas, Grammy-winner Best Music Video Beyoncè: Formation), provocative contemplations on race and police abuse and two performances that will redefine how black men and women are portrayed on screen.
They meet at a diner in nowhere Ohio. She, Queen (Jodie Turner-Smith TV’s Jett), is an aloof and exacting criminal defense lawyer, with braids down her back and a disposition more sour than a lemon. He, Slim (Daniel Kaluuya, Get Out), a salesclerk, is her polar opposite. Congenial, funny, sardonic sloppy. He chews his food with his mouth open, making noises that could wake the dead. It annoys her. He’s completely oblivious. Fate didn’t bring these disparate souls together. Blame it on Tinder.
Driving home from their rendezvous, a siren flares, red and white lights flash and his porcelain-colored Honda Accord is pulled over by a very white and overly aggressive cop (Sturgill Simpson, Grammy-winner Best Country Album “A Sailor’s Guide to Earth”). The car is searched. Nothing is found.
It’s as if the police officer is extra pissed because he can’t find drugs or alcohol. His anger grows. Slim is calm. Queen, as attorneys can be, is indignant. The situation escalates. A gun is drawn, and shots are fired. Queen and Slim go on the lam, driving down endless highways, trying to escape. He’s not sure what to do. She: “Keep running until we come up with a better plan.”
In the first five minutes the tension between the two draws you in. Contrary personalities, yet common cultural threads. Conversations about the movie Love Jones and other Black pop knowledge banter set their personae: They are hip, smart, modern African Americans. People you may have known in college, on your 9-5, from a dinner party… They’ve got urbane exteriors. Underneath they are scarred and vulnerable. You want to watch them court and spark. You want them to survive.
This is the mark of brainy, sensitive and socially aware screenwriting that will likely propel Lena Waithe from TV gigs to steady feature film work. Her mixed bag of indelible characters include: an ex-con uncle (Bokeem Woodbine, Jason’s Lyric); the con’s ladyfriend (Indya Moore, TV’s Pose); a good-willed sheriff (Benito Martinez, TV’s 13 Reasons Why); and a war vet (Flea, bassist for The Red Hot Chili Peppers).
Police aggression in the black community ignites a journey that’s laced with intrigue, thrills, narrow escapes, family drama and a romance that goes from highly unlikely to sensual bliss. All of it keeps viewers guessing what’s next—right until the end. For good measure, provocative dialogue expresses the characters’ subjective attitudes. Queen: “Nothing scares a white man more than a black man on a horse.” Slim: “Why?” Queen: “Because they have to look up to them.”
Taking a script that is as rich and descriptive as a Toni Morrison (Song of Solomon) or Bernice McFadden (Gathering of Waters) novel and turning it into eye-catching cinema requires the talent of a gifted director. Music video turned cable TV director Melina Matsoukas (HBO’s Insecure) is up to that challenge. Action sequences have verve. Dramatic scenes are well staged and crafted. Romantic moments duly erotic.
Between intense conversations, conflicts and deaths, Matsoukas gives the footage time to breath, with carefree moments: Queen sits on the windowsill of a gold-colored Mercedes-Benz station wagon, as it travels down a two-lane road. Sun on her face, wind in her hair. In endless sequences of supreme tension, it’s an oasis moment. The kind video directors imagine freely, when other filmmakers do not.
The keen eye of cinematographer Tat Radcliffe (’71) frames scenes perfectly and makes chocolate skin look incandescent. The creations of production designer Karen Murphy (A Star Is Born) make a stately Georgia home and a mechanic’s shop equally impressive. An engaging playlist includes the most modern neo soul music and old gritty blues. Shiona Turini’s costumes steal the show. To her credit, Slim’s borrowed wine-colored velour track suit and Queen’s tiger-striped mini-dress and reptile skin white boots could become iconic film garb.
Daniel Kaluuya is a photographer’s gift. The camera lens loves his guy-next-door face, large eyes, full lips and dark complexion. He plays Slim completely understated, tender in the right moments, brave in others. His is a subtle performance, fueled by inner strength. Turner-Smith’s character arc shines as she takes Queen from the impervious, to the needy, to the courageous. In the beginning her long braids weigh her down, just like her cranky disposition. Later, when she’s shorn, it’s as if a duck has left and a swan arrived. Happier. Adaptive. In the mood for love. With a beauty that would shame a goddess.
It’s been a minute sense Bokeem Woodbine was in a film that properly displayed his talents. It’s as if his career has come full circle. Moore, Flea, Simpson, Colby Boothman as a convenience store clerk and Jahi Di’Allo Winston as a young martyr complete a compelling supporting cast that turns in superb ensemble acting.
More judicious cutting (editor Pete Beaudreau, Beast of No Nation) could have trimmed the 2hr 12 min. run time. Scenes at the uncle’s house could have been shorter. Chopping off a couple of road sequences might have made the film tighter. But it’s doubtful the target audience will complain about the movie’s rhythm or compass.
The mix of racial/social hot-button issues may make some squirm. Crime/drama/thriller elements will likely keep viewers engrossed. The love story and carnal scenes could inspire couples to hold hands.
These engaging qualities should attract and satiate urban audiences and romantics looking for a unique, soul-searching allegory hidden inside a crime getaway film. Queen: “I’m scared.” Slim; “I’ll be brave enough for the both of us.”
Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.
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OP-ED: The Illusion of Allyship. White Women, Your Yard Signs Mean Nothing to Me
NNPA NEWSWIRE – “The blue bracelets are something White women are wearing so others can see that they didn’t vote for Trump,” says Liberal Lisa from Oklahoma on X. Chile, bye. These bracelets are hollow symbols, empty gestures that mean nothing to me. An accessory to claim distance from Trump’s legacy is superficial comfort, while the choice to not stand with us in the voting booth is far more profound.
Political yard signs can symbolize intentions and allegiance. But this year, they’ve also symbolized betrayal. During this general election, Black women were led to believe that more White women would stand with us. Exit polls, however, told a different story. Despite overwhelming displays of support, more White women still chose to vote for the convicted felon, reality TV star, and rapist. White women answered the call but left us hanging at the polls.
A Familiar Disappointment
I live in DeKalb County, Georgia, and the abundance of Harris-Walz yard signs could’ve fooled me. But I’ve seen this before, back when Stacey Abrams ran for governor. White women showed up, put up signs, attended rallies, knocked on doors, and phone-banked. Yet, when it came time to vote, they let us down—not once but twice. I’ve been here for over 15 years, and if there’s one thing I know, it’s that political signs are symbols without weight.
In every election, I’ve talked with White women. Most aren’t the primary earners in their families and vote along party lines, aligning with the preferences of their fathers and husbands. These conversations reveal a reluctance to break from tradition, even when their votes affect women and certainly when their votes impact the lives of people who look like me.
The Illusion of Solidarity—Symbols Are Not Enough
On social media, I’m seeing White women posting pictures of blue bracelets to “prove” they didn’t vote for Trump. “The blue bracelets are something White women are wearing so others can see that they didn’t vote for Trump,” says Liberal Lisa from Oklahoma on X. Chile, bye. These bracelets are hollow symbols, empty gestures that mean nothing to me. An accessory to claim distance from Trump’s legacy is superficial comfort, while the choice to not stand with us in the voting booth is far more profound.
I’ve seen Black Lives Matter signs and black squares posted on Instagram to “prove” support for Black people, but we now know that was a lie, too. Will those same people who claimed Black lives mattered now take down their Harris-Walz signs and show their true selves?
Navigating these truths is a daily struggle for me—professionally and socially. White women often misuse their privilege, supporting us only when it’s convenient. Seeing overqualified Black women sabotaged or abandoned by White women at critical moments is a constant emotional challenge. It’s exhausting to live with this reality, especially when solidarity seems like something they pick up and discard at will.
One clever campaign ad from Harris-Walz that spoke directly to White women. “Your Vote, Your Choice” emphasized that their vote was private—independent of their household situation. Another was from Olivia Howell Dreizen, the “Vote Without Fear” campaign, which empowered women to consider the greater impact of their choices. But it seems many still couldn’t choose the roadmap to freedom—even when it was handed to them.
A Call for Action Beyond Words
White women, I want to believe you care, but actions speak louder than yard signs, bracelets, or Instagram posts. Show up in our communities, advocate in your workplaces, and stand up to dismantle the structures that uphold white supremacy. Only through real action will we know where you stand.
If you choose not to act, we see you—and we know exactly where you stand. Good luck these next four years.
Disclaimer: The views and opinions expressed in this article do not necessarily reflect the official policy or position of BlackPressUSA.com or the National Newspaper Publishers Association.
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Supernova Parenting Conference Empowers Over 100 Parents with Resources for Neurodivergence and Mental Health
The inaugural Supernova Parenting Conference was co-hosted by Natasha Nelson, known as Supernova Momma, and Yolanda Walker, founder of Parenting Decolonized. It brought together over 100 parents, caregivers, and educators dedicated to fostering understanding and support for neurodivergent children and mental health challenges. The conference provided invaluable resources, expert insights, and a collaborative space for […]
The inaugural Supernova Parenting Conference was co-hosted by Natasha Nelson, known as Supernova Momma, and Yolanda Walker, founder of Parenting Decolonized. It brought together over 100 parents, caregivers, and educators dedicated to fostering understanding and support for neurodivergent children and mental health challenges. The conference provided invaluable resources, expert insights, and a collaborative space for connection, marking a significant step toward creating a more inclusive parenting community.
The event featured a variety of workshops, panel discussions, and keynote speeches from leading experts in neurodiversity and mental health. Attendees left with practical tools and strategies to enhance their parenting journeys, emphasizing the importance of understanding and supporting the unique needs of neurodivergent children.
“While the conference was a tremendous success, we believe that our work doesn’t end here,” said Natasha Nelson. “It’s crucial to continue providing ongoing support and resources for parents as they navigate this important journey. We want to ensure families can access the tools they need long after the conference.”
To extend the momentum generated at the conference, Natasha and Yolanda are excited to announce the launch of the Supernova Parenting Community. This membership-based initiative aims to offer a safe and supportive environment for parents and caregivers to continue their growth as conscious parents.
Membership is available for as little as $5 a month via Patreon, making it accessible for all families seeking support.
“We know that parenting can be a challenging journey, especially when navigating neurodivergence and mental health issues,” Yolanda Walker added. “Our goal is to build a community where parents feel seen, heard, and supported. We hope you’ll join us in this vital work.”
For more information about the Supernova Parenting Community and to sign up for membership, please visit supernovaparenting.org
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