Black Teen Movie

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A black girl from Senegal becomes a servant in France.
Old Female Guest
(as Suzanne Lemery)
Ousmane Sembene(based on a novella by)
A Senegalese woman is eager to find a better life abroad. She takes a job as a governess for a French family, but finds her duties reduced to those of a maid after the family moves from Dakar to the south of France. In her new country, the woman is constantly made aware of her race and mistreated by her employers. Her hope for better times turns to disillusionment and she falls into isolation and despair. The harsh treatment leads her to consider suicide the only way out.—Fiona Kelleghan
This is believed to be the first feature film made by a black African in sub-Saharan Africa.
When Diouana goes to bed, she is wearing her wig. When wakes up, she is in curlers.
Diouana: The kitchen, the bathroom, the bedroom, the living room. That's all I do! That's not what I came to France for! What are the people here like? The doors are all shut, day and night! Night and day! I came to take care of children. Where are they? Why does the mistress always shout at me? I'm no cook. I'm no cleaning-woman.
A 70 min. version includes a color sequence. It was cut to adjust to the length requirements of the French producers.
Featured in Caméra d'Afrique (1983)
Black Girl (1966)

*** (out of 4)

Impessive feature from Ousmane Sembene about a black woman (Mbissine Therese Diop) from Senegal who goes to live in France as a servant but soon begins to feel the abuse of her "owner." Some people have called BLACK GIRL one of the greatest films ever made but I'm going to fall well short of that type of praise. With that said, there's no question that the film has a pretty strong message and gets its across without having to preach or wag fingers in the viewers face. Some people have complained about the look and style of the picture but I personally thought this was one of the highlights. I really liked how the thing almost came across as a documentary as we often just see the woman as she is working or being abused and then we hear her narration afterwards. I also liked how the flashbacks were used to give us more information about the woman and of course this leads us to the ending, which I'm not going to spoil for those who haven't seen the film. It's certainly a very effective one that will lead people to have their own views on what it actually means. I liked how the film isn't just about a black and white issues but there's also the issues of differences between people of different countries as well as a issue of money. Director Sembene does a very good job at telling the story and doing so in a rather original way. The performance from the lead actress is simply wonderful as is the supporting one from Anne-Marie Jelinek.
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“Monster,” a courtroom drama starring Kelvin Harrison Jr., Jeffrey Wright, Jennifer Hudson and Jennifer Ehle that’s premiering Friday on Netflix isn’t actually new at all
This image released by Netflix shows Kevin Harrison Jr. in a scene from "Monst...Read MoreRead More
“ Monster,” a courtroom drama starring Kelvin Harrison Jr., Jeffrey Wright, Jennifer Hudson and Jennifer Ehle that's premiering Friday on Netflix isn’t actually new at all.
Yes, it’s adapted from an acclaimed book by the trailblazing author Walter Dean Myers about a Black teen who is in prison for the possible murder of a Harlem drugstore owner. It premiered at the Sundance Film Festival in January of 2018 and has been sitting on various shelves since. It was acquired by one company, re-titled and planned for a fall 2019 release. But that didn’t pan out and then late last year Netflix swept in and took it.
It’s not a huge problem for the film itself, which is a solid debut even if it can be a little dull and too sleek at times. But it does feel ever so slightly dated and disconnected from the protests and movements of the past year and knowing the context helps explain why.
Harrison Jr. plays Steve Harmon, a well-off Harlem teenager who’s been accused of being involved in a bodega robbery that ended in the owner’s murder. He’s on the security footage and the others involved have also said he was there. We see flashbacks to the days leading up to the incident, letting us know about his nice, untroubled life where he splits time between a prestigious high school where he studies film and at his beautiful home with his supportive parents (Hudson and Wright) interspersed with his real-time imprisonment and trial.
It’s the first feature from director Anthony Mandler, a prolific and influential celebrity photographer, commercial and music video director, who has worked with everyone from Nike to Beyonce. Mandler makes “Monster” look beautiful, perhaps too beautiful at times, employing glossy commercial ready techniques that will certainly rub some the wrong way. There’s no doubt that he knows how to compose a shot and make a great-looking film.
Where “Monster” stumbles is in its pacing. The book was adapted for the screen by Colen C. Wiley, Janece Shaffer and Radha Blank (whose 2020 Sundance film “The Forty-Year-Old Version” made it to Netflix before this). At times it’s contemplative and poetic and there is a particularly harrowing scene, deep into the film, where you see the circumstances of Steve's arrest. Heck, there’s even some “Rashamon” discussions with his film teacher (Tim Blake Nelson). But at other points, it is simply a procedural and not a terribly engaging one at that since the audience is intentionally left in the dark about what he did or didn’t do. This is how the book is structured as well, with Steve narrating his own story and waiting to reveal the whole truth.
“Monster” is a commentary on the prejudgments that society makes about Black teenagers accused of crimes. Even Steve’s lawyer (Ehle) has limited hope that they’ll win. The jury, we’re consistently told, is unconvinced too, and may have already made up their minds against him. But as an audience member, there’s never that conflict -- you never have any doubt that you’re rooting for Steve even as the ambiguity is teased out. Harrison Jr. can’t help but be empathetic — he is superb in the role and masterfully conveys fear and deep anguish in the sometimes-tedious trial scenes. Between “Luce,” “Waves” and this, it’s a wonder why he isn’t a bigger star.
Despite some shortcomings though, “Monster” remains a worthy watch if just for Harrison’s performance. And hopefully Mandler will get another shot at a film soon, as well, and that this time it won’t sit on a shelf for three years.
“Monster,” a Netflix release, is rated R by the Motion Picture Association of America for “language throughout, some violence and bloody images.” Running time: 98 minutes. Two and a half stars out of four.
MPAA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.
Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr

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