THE OBENSON REPORT

I just learned that Sundance pick, A Good Day To Be Black And Sexy, filmmaker Dennis Dortch's first feature-length film, has been picked up for theatrical distribution by Magnolia Pictures (a subsidiary of billionaire Mark Cuban's 2929 Entertainment). Just 7 years old, Magnolia specializes in both foreign and independent films, with projects from the likes of Steven Soderbergh, Brian De Palma, John Malkovich, and Hal Hartley on their distribution resume - so I'd say Mr Dortch is in very good company, and I certainly hope that Magnolia does the film and filmmaker well! I haven't seen the film, but after all I've read and heard about it, I can't help but be excited at its potential. It's certainly a good day to be Dennis Dortch! No specifics of the deal have been released to my knowledge, but the film is scheduled to be released this year - likely in limited circulation, at least initially.

Next week Monday, Mr Dortch has agreed to appear on my podcast to talk about his film as well as his Sundance experiences! Looking forward to it!

I found the following review of the film from The Hollywood Reporter. It's all good!

A Good Day to Be Black & Sexy
Bottom Line: A smart comedy about bedroom mind games.

Among the well-assembled cast, Mylika Davis stands out as a take-charge innocent who suffers through her teenage dawg days. Chonte Harris is hilarious as a put-upon "other woman" who skewers her married lover with brilliant, irrational logic. As the perplexed player, Marcuis Harris is sympathetic and lamentable.

All performances are on-target and ripe, highlighted by smart turns from Kathryn Taylor as a selfish lover, Emily Liu as an Asian-American with a forbidden yen for a black basketball star, and Brandon Valley Jones as a flustered, neglected lover.

Tech credits are a soothing and sizzling blend, clarifying the psycho-sexual dramas.

Karina over at Spout.com wrote an extensive review of the film. Here's a snippet:

The story begins with the suicide attempts of twin brothers Lawrence and Darius. Darius’ is successful, Lawrence’s is not, and after surgery and therapy, he returns to the dreary plot of land he shared with his brother and delivers a letter that passes for a will to Marlee, the estranged mother of Darius’ child.

Read the rest HERE.

I've mentioned this film in brief on my podcast, at least once. As of today, the end of the Sundance Film Festival, I don't believe it's been picked up for distribution by any company. But I'm keeping my eyes and ears open for anything new. I'm also hoping to have the filmmaker, Dennis Dortch, as a guest on my podcast sometime in the next month, to talk about the film and his experiences at Sundance. An extended synopsis of the film follows below; and just beneath that are links to a brief video interview with Dennis Dortch on YouTube, and an audio interview with 2 of the stars of the film, hosted by Spout.com.

From Sundance - Indeed, it is a very good day. Dennis Dortch’s daring directorial debut ambitiously charts black sexuality through a set of six deliciously amusing, interconnected vignettes that unfold in a single day in Los Angeles. A hot-button, “don’t-let-them-know-you’re-watching” constellation of intimate moments, A Good Day to Be Black & Sexy seduces us with obsessively watchable performances that make it at once familiar, provocative, and fresh. Women unapologetically figure it out for themselves, reclaiming license to be selfish, rude, and raunchy in a playfully enduring tug-of-war between the sexes. Explicitly exploring the texture of sex, Dortch packs the film full of viscerally seductive tones and sultry grittiness as he allows us sneak-peak access to a multitude of motives of desire—a woman in bed with her boyfriend jockeys for position to get hers first; a teenager explores the limits of her sexuality in questionable situations; a boy and his ball are held hostage by interracial taboos. Bringing overdone stereotypes about black sexuality to their knees, Dortch explodes a constellation of sexy little secrets that we would otherwise keep quiet. Packing a strong voice and innovative style, Dortch’s kaleidoscopic sketches are juicy and surprising with every step, stroke, and...ahem. Yes, he did just go there!

Here's the link to the video interview of Dennis Dortch: YouTube.

Here's the link to the audio interview: Spout.

SIDE NOTE ABOUT THE YOUTUBE VIDEO INTERVIEW: Towards the end of the interview, the interviewer states that people are saying that Dennis and his film are redefining black cinema. I always get uncomfortable when grandiose statements like that are bestowed upon one person or film. They completely negate every previous effort by filmmakers who challenged the status quo, and in essence sought to redefine black cinema - from Melvin Van Peebles, to William Greaves, to Charles Burnett, to Julie Dash, to Spike Lee, and many others. Obviously, it's not the filmmaker's fault in this case, but I would have liked his response to the interviewer's statement to echo what I just said above.

This one hasn't been as lucky in the distribution department as the last film I mentioned (The Black List). But based on the review below from The Hollywood Reporter, it looks just as promising. The film is called North Starr. Let's hope someone picks it up and we get to see it eventually.

From The Hollywood Reporter...

SUNDANCE FILM FESTIVAL, PARK CITY, UTAH... The story of a young black man's search for identity, it is more vibrant and affecting than many movies with 10 times the budget. What it lacks in polish, it almost makes up for in heart and soul. The film could attract a modest crossover audience before finding a home on cable.

First-time producer-director-writer-actor Matthew Stanton clearly is working more from inspiration than experience. Blending the poetic with the prosaic and originality with the formulaic, he has put together an old-fashioned, socially conscious picture with a contemporary beat. Music of all kinds -- rap, blues, country, tribal drums -- is pulsating throughout the film.

"North Starr" operates on a literal and allegorical level. It opens in the Houston hood where Demetrius (Jerome Hawkins) is reluctantly pressed into doing some nefarious job with his pal Justice (David Haley). When Justice is killed in action, Demetrius starts out on his life journey, winding up as if blown by the wind in the tiny West Texas town of Trublin.

Befriended by Darring (Stanton), Demetrius soon encounters the remnants of the old South. The sheriff and his two racist sidekicks are so venal as to be almost cartoonish. As in most places like this, they are harboring an awful secret that somehow starts to show up in Demetrius' dreams. Haunted by his past and uncertain of his future, he is nurtured by Darring, his foul-mouthed friend Wayne (Wayne Campbell) and the hospitality of an elderly white couple at the North Starr ranch.

It's the feeling and sentiment that counts here more than logic, as changes in tone between the mystical and real world are occasionally jarring. The young cast, often awkward in front of the camera, doesn't help the cause. Yet the film has a great energy and means what it says. The poetry and songs Demetrius writes in his journal are used as a voice-over and a way to show his inner self. As a city kid lost in the Texas wilderness, it's hard not to root for him...

Hmmm... I love it when my fellow brothas and sistahs take control in order to create further opportunities for themselves and others who look like them; but, for various reasons, this bit of news doesn't inspire much hope within me. If the films that come out of this venture are anything like the music he's produced throughout his career, then I dread what's to come. Good luck to him though.

50 Cent announced at the Sundance Film Festival that he is forming a production company with longtime manager Chris Lighty and producer Randell Emmett (Shottas, Home Of The Brave, Righteous Kill) to produce indie films. He made the announcement during a news conference over the weekend.

Of this new venture, the rapper-turned-actor told MTV: "It means I'll have creative control of some of the projects I commit to and I can choose things to develop. I won't be on camera for everything I'll be producing, but now I'll be producing films too."

As I've mentioned previously on my podcast, this year marks a record for the number of "black films" screening at the prestigious (although, questionably relevant) Sundance film festival, currently ongoing, in cold and snowy Park City, Utah. I'll be recapping the festival on the next episode of my podcast, next week Monday, the 28th. But I decided to post any relevant news that comes my way before then.

According to the good folks at Black Talent News, one of those "black films" playing at the festival, a documentary called The Black List, by photographer-filmmaker Timothy Greenfield-Sanders, starring former New York Times film critic Elvis Mitchell, was picked up for distribution by HBO.

Sounds intriguing enough that I'll likely watch it whenever it airs on HBO, probably later on this year.