In this week's episode, we dive into the powerful and thought-provoking film "Judas and the Black Messiah." Will it make the list? Probably, but let's pretend like we don't know yet!
Judas and the Black Messiah is a 2021 film about the betrayal of chairman of the Illinois chapter of the Black Panther Party, Fred Hampton. Staring Daniel Kaluuya, LaKeith Stanfield and Dominique Fishback.
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In this week's episode, we dive into the powerful and thought-provoking film "Judas and the Black Messiah." Will it make the list? Probably, but let's pretend like we don't know yet!
Judas and the Black Messiah is a 2021 film about the betrayal of chairman of the Illinois chapter of the Black Panther Party, Fred Hampton. Staring Daniel Kaluuya, LaKeith Stanfield and Dominique Fishback.
Join the Black Ass Movie Club
How many black fists do you give?
Jordan:this film. I don't know about black fists.
Brooklyn:Welcome back to the Black Ass Movie Podcast, where we are putting together the quintessential list of black ass movies that you have to watch. I'm Brooklyn, I'm TJ and.
Jordan:I'm.
Brooklyn:Jordan, and today we are watching Judas and the Black Messiah. So we have just finished the Black Messiah and I will admit there is some.
Jordan:We had to listen to the tribbet.
Brooklyn:We had to take a beat between coming back to the mics and I want to put this into the room is that we are going to try our darnedess to focus on the film and the story that is telling and not the subject matter that it is discussing, and if you hear any.
Jordan:You know sounds of ice or. It is because we are drinking. I was gonna say mind your business. But you know what we?
Brooklyn:are drinking heavily.
Jordan:This, yeah, we pulled out the hard liquor.
Brooklyn:We started off cute with wine. It's gonna be a nice little Popcorn. So I guess the question I want to pose to the room is did you, from this film, did you learn anything that you didn't know before going in? For us who knew a little bit more about the Black Panther Party before, do you feel like this was an accurate depiction of the organization at that time?
Jordan:We talked a little bit about it while we were watching the movie. I think the depiction is big picture accurate, but I think the movie misses a lot of opportunities to talk about the rampant misogyny that did absolutely contribute to a lot of the disarray of the party, and that is unfortunate. However, I think that a lot of it was right, a lot of it felt right. I like the attention to detail, but I think not a lot of movies about this kind of work. It doesn't happen often. We don't often get to really get into the minutiae of what took place. We usually just kind of see a lot of white man bad black people suffer, and so I think that this really did get into a lot of the issues that were prevalent in the party, especially around that time.
Jordan:Obviously, it was chapter specific, but I think they did a great job of using this chapter and this story to talk about some of the larger issues the interactions with police and fake pamphlets and the presence of informants, of which there were many across the country and that I thought was really nice, but also additionally as well as I think that a large part of the issues as well was power trip issues and ego, and when you lose focus. I think it's something that we saw in the movie. When Fred Hampton first gets arrested, we see the members of the party losing focus, we see people getting suspicious, we see people just going on rampages and letting their emotions rule, and we also see Fred being the voice of reason and trying to bring people back to what the task at hand is, and I think that that feels very accurate and it's not something we often see in movies like this.
Brooklyn:TJ.
TJ:I'll start by saying that, coming from a Southerners point of view, I have a very unique perspective on this movie, specifically in the Black Panther Party, Because growing up down south the narrative of the Black Panthers is that of it was a radical group in the country and all of those types of things, but amongst the Black people in the south we looked up to them because we didn't have anything like that down south. Now I will say I want to start from a separate place in the movie because I feel like it dictated how I viewed the movie in my opinions. Artistically speaking, I really enjoyed the film. Cinematically it was beautiful to watch. Yeah, sound like.
TJ:The scoring of the film was phenomenal, Acting, wise, beautifully acted by everyone on screen. I don't feel like there was a weak link at all in this film. Emotionally it put me in a place I felt like I was back down south again, whereas I ran away from a lot of those tropes and those ideals of Black people versus white people, to come up north and go to school and move to New York and all those things. In watching this movie it reignited some of those narratives that existed with growing up down south.
Brooklyn:For me. I love the film and I thought it touched on a lot of different things because, walking into this, I was very much expecting a very tunnel vision version of events that happened and it wasn't really that, because we touched on so much. We touched on Black love and fatherhood and relationships between men, the understanding of youth and how you can be manipulated when you have so much less to pull from. Going into this film, I didn't know a lot of the details. I walked out of this knowing that Fred Hampton was 21 years old at the time of his death and this movie takes place years prior to that, which is. I'm always dumbfounded when I find out that the people I saw in my history books were so young when they were doing these things. That it really puts things into perspective. I thought the movie was shot absolutely beautifully. I love that. It kind of held onto that cool tone throughout the entire film. I never felt dread. I knew how the story ended, but I never felt dread in the film.
Jordan:I felt it in the entire film.
Brooklyn:But it was beautiful seeing these moments that weren't just the things that you read in the headlines, that were just like what was happening over here, what happened after this person died, what happened at this moment when Fred was away from the group, all those things that you don't really get out of the Netflix documentary about his life. It was very interesting to see and I'm still working through how I feel about things. But something I think I do want to say is that I don't think this film is designed to make you walk away, and I hope that no one does walk away from it completely going. White people are evil. Burn them all. I don't think that that's the case.
Brooklyn:I think that if you take Fred's message, it is a very specific type of person, because everyone who is not for the people in this movie, they're not all white, they're not all black, there's a bunch of different people and some of the people who were standing with him weren't all black. They were people of other races. I think that understanding that it's a certain kind of person who becomes that kind of cop is a certain kind of person who can move up the ranks to become the person that protects the status quo at all costs. I think that those are the people you have to look out for. I think this film did a really good job of saying just because they look like you, don't mean they're for you.
TJ:I want to touch on something because it escaped my mind earlier. Going back to the, the artistic view of the film, I really, really, really enjoyed the allegory of Jesus and Judas in this. It took me, I would say, like 10 or so minutes to lock into that because I was wondering why I was called Judas and the Messiah, or, right, judas and the Black Messiah and within, like the first, the like, jumping back and forth between the timelines, I realized I was like, oh, he's Judas. Now, okay, I'm buckled in, I'm ready, I get it. I know where we're going. I don't know what's gonna happen, but I know we're probably gonna end the story the same way, but isn't?
Brooklyn:it really interesting how history repeats itself, like this is the story as old as time.
TJ:Yeah, yes, yes, and not skipping ahead, but like the betrayal that is there, it's insane to me that humans seem to constantly be in this cycle of bidding against each other and fighting for power and-.
Brooklyn:Self preservation is real. Yeah, yeah, it's a real thing.
TJ:It's a manipulating people and all of you know and all the things. So I just wanted to bring it back because I completely forgot about it.
Brooklyn:In the casting of this film? Do you think that the people who were involved, the real people, were cast like to the best of their ability, that they could have been with the cast that was put together for?
TJ:this film, daniel in this playing the lead role. From the previews I was skeptical. Right, he's been in Black Panther get out. He's been a myriad of things in his body of work. And has never moved his face and is we're not gonna talk about that.
Jordan:Listen, the amount of times we did less than one source of joy I think we got this entire movie is that. Whoever edited this movie, who ate? Whoever you are, you gobbled because the amount of jump cuts that Daniel just staring at people.
Brooklyn:If him, of him being us in that moment, Of just him being us, like just what, and his face is just so perfect for it.
Jordan:He just so expertly captures Black disapproval, yes, black confusion, you know, because the way that you can just look at somebody and say an entire set of look, we with just your face, he's one of those people, and so every single time it just cut to him looking directly at a person, like what that was? I love joy and that gave me it.
Brooklyn:I would like to see more films like this made, because to me it didn't feel like a period piece and if I was someone of a certain age who saw this movie, I would just see a movie and hopefully have a deeper understanding of what happened, because I didn't grow up in the South.
Jordan:I grew up on the Mason Dixon line.
Brooklyn:That a lot of our history that we were taught was colonial history and the civil rights movement. Through a revisionist lens, I wanted to bring up something that I wanted to commend the filmmakers for doing. Is it put some historical events in context of time? For me, when this is something they included, probably a blinking you miss it kind of thing it was a conversation about Emmett Till, and Fred Hampton, 21 at the time of his death, talked about the woman his mother, baby sitting Emmett Till and this was in the 70s that this conversation is happening, which wasn't that long ago. But if you look in a history book, if you learn about these two events individually, they seem like decades apart. At the very most it could have been 15 years that he has memory of this young man. He has memory of him being baby, sat by his mother. Emmett Till was not a baby when he went to Mississippi, so they knew each other and I think that was something really important to put these things into context, because sometimes we look at those things from the past and it feels like, oh, this was so, so long ago. I'm sorry to bring up a TikTok reference, but I was just scrolling through my 4U page and it was a stitch video. This guy was I think they were commenting on how long ago we integrated schools and how crazy it was that this happened so long ago. And it just cuts to the guy who I think he just started college because I've been following him for a while and he said I just follow Ruby Bridges on Instagram. Like that's how young she is, like that wasn't that long ago. It's a reason that the pictures are in black and white because it makes you think that it was so incredibly long ago and it wasn't.
Brooklyn:And we had this conversation off Mike, but I just wanna put it out. There is that it gives me. This film is powerful. It made me think, it made me wanna learn more. I want more films like this to happen and I'm kind of upset with myself that I didn't watch it earlier because I had so much time to see it at the moment that it came out that I hate myself for not watching it earlier, so that upon a rewatch that I would have a little bit more digested to say right now Cause right now I'm still kind of feeling my way through it the only thing, something I will say is like, show it to your babies. Like show it to the kids and not just in February. Like, if you haven't seen it, watch it.
TJ:I'd like to pose a question for the group. Do you sympathize slash? Empathize slash, understand where he's coming from?
Brooklyn:Jordan, do you want to take that one?
Jordan:Um, multiple things can be true at once. I think that, um, like you said, people create circumstance, and I can understand how circumstances may apply, just to behave. However, I think that it's hard for me to sympathize, not just, you know, because, like boo bad, but because of I feel like my politics, my impulses or my values do not do not allow me to prioritize thinking about intentions and you know, when it comes to things like this, I'm I'm not interested in that. I'm interested how, I'm interested in how we might change you because at a certain point I can understand.
Jordan:I can understand up into a point how our circumstances again might apply, just to behave. I'm interested in changing those circumstances, not necessarily understanding why you might have done what you've done.
TJ:I, I completely I'm in line with your thought. I I can understand up to a certain point, because there's there's an opportunity for change, and I think that's the thing that, like, splits me with this is that you know, when we start the movie and he is, you know, caught red handed with this situation and you're given an opportunity of you go to jail for this crime you've committed or we use you to work against this group of people. That's opportunity number one. Right, you have a choice to make whether you pay for what you did because you, rightfully you did it right, Like you. No one pushed your hand, no one forced you. You made the decision to go after these people and get this car.
TJ:However, you're also presented with an opportunity to remain a quote unquote free man and do this other thing as a quote unquote favor, at the detriment of these other people. And at that split, at least for me, I would much rather just do the punishment for what I've done than to be put in a position that will question my character, my morals, my values and potentially hurt other people in a different way. Because, realistically, I'm thinking, you know this the outcome of this situation, even though it's based off of a real thing. The outcome of this movie could have been completely different if you just took the year and a half that you were supposed to do Right, that person probably would still be alive, and I feel like my brain is always, or what would have been alive longer, or you wouldn't have been part of it, the catalyst, you know, to end that situation.
TJ:That's fair, right. So I feel like there's a lot of moments in the movie like that for me where there is just this binary choice of you could do this or you could do this, and he always seems to go to that left side, and I guess that's why it's so like the allegory of Judas and Jesus is so thick in this, because at every opportunity you had a chance to clear your name to start over, but you chose not to but I also think part of it is, it's a, the understanding is what it is, the understanding of who is at a disadvantage.
Jordan:Because to believe that, I think to believe that it is a binary choice of either I can do my time here or I can help them and not do that, either that's that's actually the same choice, and I think, and I think it stems from a lack of understanding of who is at a disadvantage. Because if you're thinking that, oh well, you know, even if he does go into this thinking that they're terrorists, he's that means he's going into it thinking that the party is at a disadvantage and I'm not really.
Jordan:I'm not really doing anything because at the end of the day they're going to get theirs, because they're doing something. Of course that would upset the status quo, so of course they they'll have to reckon with that choice. So he's going into it thinking that the party is at a disadvantage.
TJ:So he's like if it's not me, it's someone else, Right yeah?
Jordan:Or it's going. It's going to happen because that's what happens when you go up against large institutions. But I think to I think what might have helped is an understanding that if a large institution is worried about a chapter of the Black Panther Party, who is really at the disadvantage, and that might have changed the decision.
TJ:Yeah, yeah.
Brooklyn:I think it's a funny thing when I was watching the movie that every time that he was presented with harm it was actually coming from the same source.
Brooklyn:Because he initially got into the Black Panther Party because he was afraid of going to prison. He was presented with this choice by insert governmental agency. But once he got in and began telling, he was then threatened again that if he walked away, this is what would happen to you. When he got to the point that he maybe didn't want to do this anymore and could possibly come out as a rat, the government then sent in someone from another chapter who was also an informant to tell him about what happened to the last person who was an informant. So I do wonder if any of the things that happened that were so brutal to people who rat it on the Black Panther Party were instigated by people like the informant would have probably been just a okay, you did this, you got to go, you can no longer be here. But now it's a oh, now you have to die because you rat it on somebody.
Jordan:There's a scene in the movie where Bill brings these explosives to some other members.
Brooklyn:Sounds like the bricks Right.
Jordan:Right. And he's like we got to you know we got to blow up, sit it all or whatever.
Brooklyn:And they're like, if you don't get out of here with this are you crazy?
Jordan:You know, so I just I don't know. It's very clear to me, and Fred Hampton says often in this film, that knowledge is power, and I think that in a lot of these situations, what we're seeing is a lack of knowledge.
Brooklyn:I agree.
Jordan:The choice to be an informant, the choice to go along with killing someone, because you only have a piece of the story that tells you that this person knows, that this person is an informant. You're just going up.
TJ:But if you would have had all of the knowledge in this situation you would have been more informed to make the exactly the right decision, the true decision, right, yeah, I, you were talking about that and I wanted to go back to that moment of the C4 in the car because that was the moment in the movie that hard shifted me into.
TJ:Like we were no-transcript. We're so misinformed about this person, about this party, about the situation, and that is what the cops, the FBI, are looking at and that's the information that they're leading with to make these decisions. Because I'm thinking about the beginning of the movie whom were dropped into this FBI meeting and Hoover is giving this speech of all of these different black leaders and saying we have to go after them. And all of this stuff and all of that hate that is spewed and that fear that is spread is based off of piecemealed ass information and not real information. And in that moment of the C4 thing skipping ahead, it cemented me to be like this was someone's life one, but also how terrible it is that we live in a world where misinformation, in someone's skewed view of you or situation, can end in death. I wanna shift the conversation, cause I can feel us getting a little warm.
Jordan:The air conditioning is turned off. It is off.
TJ:Cinematically what are your favorite moments? Taking a step back from the content visually, what are your favorite moments?
Jordan:I really enjoyed and shout out to my girl, dominique Ishback.
Jordan:We survived the Sunk in Place Inc. Girl. It was so great to see you thriving. And if anyone else who survived the Sunk in Place Inc. You know what I'm talking about. We all came from there, I see you. But I really enjoyed. She just looked wonderful in the movie. I just every time she appeared on screen, I don't know. I just like the way all of her shots were set up, especially I think it's towards the beginning of it's one of his first speeches, when she's listening to him and you like-.
TJ:When they're in the gym.
Jordan:Yeah, yeah, and towards the beginning of the movie she's always peeking through someone and then the closer they get, the more shots she gets by herself and then which are all gorgeous, and then I think he gets either it's right before he gets arrested or right after he's released. They start shooting her only from the side, Like she's always like in a doorway somewhere and it's always just her from the side and she's coming from around a corner, and then towards the end they only shoot her from the bottom, Like they only shoot looking up at her Interesting.
Jordan:Which I found really, really interesting. It was she the director of photography, a in terms of Dominique Ishback and I. Really there was a lot of that I enjoyed, and also the beginning of the movie McKee the Stamfield and that car and those street lights and him with that hat. You know what I mean? I was just like should I buy a hat? You know what I mean? Jesus Like do I need to purchase a?
TJ:hoop date Okay.
Jordan:Cause I wanna drive down the Harlem streets at night.
Brooklyn:Oh, my God, I'm like I'm lying that trench coat Woo, I have dreams about it.
TJ:Oh right, oh right.
Jordan:We're having two different reactions.
TJ:Yeah, you are.
Jordan:I wanna buy the trench coat. You wanna take it off?
Brooklyn:Yeah, the center of photography in this film was absolutely gorgeous. It's actually Academy Award nominated. It was quite beautiful to me because I feel like it captured the essence of that time but didn't feel overly grungy, but didn't feel overly polished as well. Like it felt like you were. It felt like you were a fly on the wall, like you were peering into what was happening in these moments.
TJ:It's interesting you say that cause. My favorite cinematic moments in this are all of his speeches. They're like this mid body shot and it's at least from watching it it feels like it's meant to put you right in the middle of wherever he's speaking, so that you're engulfed in, like his speech, and you're focusing on what he's saying and there's no other distractions Like my favorite of the ones that they shot, I think was his last speech when he's at the church with everyone and it's just him in that banner in the background and at a podium and it's like it takes away all of the like you know Hollywood fluff that could be there and just put you at the forefront of that speech.
Brooklyn:Piggy backing off that. That same speech, that same scene, the feeling of unease and dread that Lacoste Anfield's character is feeling as he's peering out into the audience and seeing the FBI agent. That was creepy. That was so well done to make you, as the audience, feel kind of that chest clenching, still having to remember that you're there performing that role while this is happening. Was was, ah, the next kiss, like that was absolutely just amazing.
Jordan:That was good. That feeling is so familiar. It's so familiar.
Jordan:That's all I could think of when I was like that's all I could think of during that scene of like, and Toni Morrison talks about this often. There's an interview with her that I really, really enjoyed, but she talks about how you can tell when you're reading writing, that when an author has a little white man on a shoulder looking over, and she says, because you're explaining things that you wouldn't have to explain if you were talking to me and I think what this movie does really well is it is the opposite of that, where they actually the little white man actually is not on the shoulder, he's on screen, and we see the two things happen at once, because they have the camera really focused on the Keith Stanfield and you can see him get riled up Like, you can see him participating in the speech, and then and then you see the white man.
Jordan:And then you see how that changes and that was that. So all of that was in my head when I was watching that moment, because for me it didn't feel creepy. For me it felt like it felt like another one of those decisions.
Jordan:Because, you can see him trying to decide what he's gonna do, where he can go, Because I mean, even in that moment and this is kind of around the time where he's like he has a very large hand in party operations while Fred is gone, this is in that moment where he's starting to be, you know, radicalized.
TJ:Do you have a favorite scene from this movie?
Jordan:Okay, it's the poem at the end. It's when she reads him the poem, especially because of the discourse that's been happening as of late in this mass disabling event that is, the pandemic of people debating whether or not to have children and all of these articles that are coming out about the millennials don't want to have children, and they don't want to.
Jordan:I was just listening to her talk about this poem. Read this poem about the parallel emotions of being so proud of this thing you created the child and the party and the relationship with Fred and all of the beautiful things that they've created while also understanding what's at stake and all of that is in your head, while also thinking. She says am I a bad mother? Am I an active participant in what could be my child's demise? Am I making a smart decision by bringing she says I'm bringing a child into a war zone. And so that was just a really beautiful poem.
Jordan:And also, it was just a really that moment and a lot of the moments that they, a lot of the very like tender moments that they had, were really great to see and I really did enjoy those, although they were it was a heterosexual relationship which was hard for me, but.
TJ:I think it's hard for all of us. I enjoyed a lot of the soft moments as well. That was one of my favorite moments, I think, in this is I'm going to say that this is a favorite scene of mine purely artistically, not because of the content of what actually happened.
TJ:I feel like you're about to steal mine, but the scene when they're in the house towards the end of the movie and she is standing inches away from this man that she loves and you can see the anguish in her face and you can. It's so subtle but it's so beautiful to watch because there's so many years in that moment and she's carrying the weight of her child and carrying the weight of the relationship and and you know, their whole relationship in that moment and it is. It sticks out to me more because of the like Jesus allegory, where I feel like that was married with with Jesus, like when he was on the cross.
Brooklyn:Well, I will say this it was it. For me, it was two clicks back from the moment that got you and I hate calling this my favorite moment, but it is a. It's the moment right before that, when she is still on top of him and she is trying to wake him in the realization that this is how this is going to go and we cannot be the martyred family because without this baby and what he wanted for him and I am carrying him I have to get up and I have to leave, because it could in here or I or what he stood for lives on, and I think that that moment of her kind of caressing his face and taking that moment and then getting up, that was what, yeah, it was her goodbye that was really that that really sat down, the fact that she was not even nominated for supporting actress.
Jordan:Yeah, Nothing for the group is, yeah, absurd.
Brooklyn:Wow, because the amount of acting, the amount of emotion she portrayed with no lines is crazy to me.
Jordan:Yeah, dominique, motherfucking fishback bitch, my God.
TJ:Yeah.
Brooklyn:My God, yeah, but it was, it was, it was a beautiful, incredible performance, and the fact that we are not talking more about her period is upsetting to me, because through this entire film Maybe that is the commentary on misogyny Is that we focused on all of the men in this, in this movie. But if she wasn't there, if we, if we negated her from the story and made her a off to the side person that we never got to meet, the heart of this film wouldn't be there.
TJ:And the crazy thing is you say that, and I think that I think that is the thing that makes this movie shine compared to other historical films is that they took the time to show the nuance of their relationship and how important she was to not only the movement but to him, and it was it. At least, the way I interpreted it was that it wasn't just him and the party, it was the two of them, like they were on an equal playing field. And I feel like a lot of these types of movies, especially stuff with, like some of the larger figures, it's always the man forward, you know, and it's not the, it's the wife.
TJ:It's not even the partner or the person that is helping them get through this, or or even in some cases we'll talk that probably we're actually moving the movement forward, you know even inspiring very famous beaches yeah writing them first.
Jordan:Having a dream.
TJ:So what is your rating on this film?
Brooklyn:I would have to give it 10 berets out of 10, if not more. I thought it was practically perfect. I thought it was a really great solid film and I would definitely give it a full 10.
TJ:Okay, I'm going to give it a 10. It was a very influential film and I think it's required viewing Cinematically. Artistically. I loved it. I really enjoyed it. The storytelling alone, I think, is worth watching.
Jordan:I would give it seven out of 10 berets Okay, because, although it is like it's a really, really great movie and I think it's important for everyone to watch, I think that there are parts that I think, historically, that are missing for me. That I think would have really probably would have made the movie longer, which is probably why they're not in there, but I think it would have brought a very interesting. It would have added something that I think I felt like I was missing. I would have loved to see more of the women, but I understand, I understand their placement and I also thought that it was very smart Because I felt like you'll only ever see the women at the headquarters, or they're always there.
Brooklyn:As everyone's arriving.
TJ:Back from the fight. They're there first.
Jordan:So I understand that that was intentional and maybe I hate the cop out that like, well then, that should be a separate movie because it doesn't have to be. But I think that that would have added something really interesting into all of the nuance that was in this movie. So that's why I say seven.
Brooklyn:So, in piggybacking on the idea of the misogyny and kind of focusing more on the men in this film, the composite character that was Judy Harmon Do we feel like that was adequate in presenting basically the women who were not the secretaries or the administrative staff of the Black Panther Party but that were actually out there soldiers with everyone else? Do you think that that was enough?
Jordan:You mean, should 60% of the membership of the Black Panther Party be represented by two people on screen?
Brooklyn:That was the question I was asking.
Jordan:You know, read Angela Davis's autobiography and you'll hear more about the misogyny and the Black Panther Party and why she wasn't affiliated with it as much as everyone thinks.
Brooklyn:But if we haven't read it yet, what are the things that we'll find in there?
TJ:What are the?
Brooklyn:talking points that we'll find in there.
Jordan:Listen once again 60% of the membership women. I also mentioned that. I thought that I did like where the women were placed, how they were used minimally, but how they were used in the film. I will say that Ego, but I just think that I think a lot of the issues again. I've already said this, though a lot of the issues that arose in the party were because of men's inability to not play cops and robbers.
Brooklyn:Overall, overall, I think everyone enjoyed the film and that we would recommend to watch. It is definitely making it on the list. What I do think we will do is we'll walk away, we'll digest and I feel like we should revisit. It may not be next week, but we will definitely revisit this film because it's an, it's an important conversation that I don't know, I don't think any of us were expecting, I don't think the two of us were expecting to have after watching this film. So I think that after some quiet contemplation, some reading, some understanding, some digestion, I think that we will be more equipped to go a little further into how we feel about more of the things in this film, because I feel like we have a. We have enough that you know why we love it. You know that we thought it was shot absolutely gorgeously and the nuances that were presented in this film and the topics that it touched on that were really important.
TJ:And that's our show. Friends, thanks for joining us on another episode of the black ass movie podcast. You can find us on Instagram at the black movie podcast and please rate, review and subscribe to the show. We'll see you next week.