In Their Shoes

Zion Murphy (MFA candidate, film)

“Daughters of the Dust” 

“‘Daughters of the Dust’ represents a truly Black cinematic experience. Julie Dash’s nonlinear story concerned with diasporic and ancestral struggles coupled with the poetic, dream-like images captured by Arthur Jafa provide audiences with the rare sensation of authentic Black film.”

Chat McDuffie (MFA candidate, film) 

“Sinners” 

“I was particularly drawn to ‘Sinners’ because of my ties to the Deep South. I am obsessed with Southern Gothic films and their ability to take historical elements and blend them with horror and other supernatural elements. I loved it so much that I went to see it three times in the movie theater!” 

Awura Osei (MFA candidate, film) 

“The Wood”

“What I love most about [‘The Wood’] are the flashbacks of their tales in brotherhood as they came of age. The storytelling felt like a reading from pages from Mike’s journal recounting memories from the actual wedding day and their Inglewood upbringing during their teenage years.

These anecdotes have brought so many iconic lines that I often quote today — and the bond they shared on screen felt so real and genuine — it made me feel like I truly experienced these stories alongside the three friends turned brothers.”

Kelvin Childs (Development Writer, Alumni Relations)

“Uptown Saturday Night”

“The plot in ‘Uptown Saturday Night’ (1974) is almost straight from The Flintstones: Working-class schmoes Steve Jackson (Sidney Poitier) and Wardell Jackson (Bill Cosby) go on a night on the town at speakeasy Madame Zenobia’s, but unfortunately, bandits rob the place. Worse, there’s a winning lottery ticket in Steve’s stolen wallet, leading to genial tomfoolery as he and Wardell try to get it back.

“Uptown Saturday Night” has a who’s who of top Black talent, including Rosalind Cash, Flip Wilson, Lee Chamberlin, the ever-erudite Roscoe Lee Browne, Harold Nicholas, and Paula Kelly. The laughs come steady as the suspense builds over whether Steve and Wardell can get what they need without the crooks — or Steve and Wardell’s wives — figuring out what they’re really after. Harry Belafonte spoofs “The Godfather’s” Vito Corleone, and Richard Pryor nearly steals the whole show in his one scene. Alas, it’s necessary to lament what we now know of Cosby the man, but he and Poitier are a great screen duo in a very funny film.”