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Summertime

on July 15, 2016

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Images are my own taken from on holiday.

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'MATANGI / MAYA / M.I.A.' review

M.I.A. 's reaction to her documentary, after she watched it for the first time, as it premiered at the Sundance Film Festival in January 2018, was ambivalent. She commented on how director and longtime friend Steve Loveridge: 'took all of my cool out...he took all the shows where I look good and tossed it in the bin. Eventually, if you squash all the music together from the film, it makes for about four minutes'. I kind of disagree with this, though. I think that M.I.A. comes across as effortlessly cool. And yes, as far as a rapper's biopic goes the film is lacking in glamourised music video footage and concert scenes. But something of the textured vortex of eclectic sounds that is M.I.A.'s music is also captured in the way in which the film is largely composite of lots of different home video clips. The film is made beautifully raw by not disproportionately focussing on the polished...

'And I'm learning, so I'm leaving'

Images all drawn (badly) by me.

'Moonlight' and 'Territory of Light'

Moonlight (2016)'s Juan (Mahershala Ali) remembers running past an old Cuban lady when he was a little boy, and how she called out to him, "in moonlight, black boys look blue". This remark is applicable to the grittily honest coming-of-age film's representation of African-American youths. The depiction of black boys is refreshingly diversified from being stereotypically 'aggressive', or 'threatening'. As Moonlight engages with such issues as sexuality, identity, and drug addiction within the black community, the film teases out the simultaneous insecurities and senses of dejection, stagnation, and distress underlying the young black experience of Miami's Liberty City projects. This commitment to fully capturing multifarious identity is evident from the division of Moonlight into three separate acts. These acts are named 'Little', 'Chiron', and 'Black', in acknowledgement of the three different names by which the ce...

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