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Speaker 1: On the Bechdel Cast, The questions asked if movies have

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Speaker 1: women and them, are all their discussions just boyfriends and husbands,

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Speaker 1: or do they have individualism? It's the patriarchy, zeph and

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Speaker 1: best start changing it with the Bechdel Cast.

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Speaker 2: Hello, and welcome to the Bechdel Cast.

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Speaker 3: Hello.

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Speaker 2: My name is Caitlin Dernte.

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Speaker 4: My name is Jamie Loftus, and this is our podcast

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Speaker 4: where for ten years we have taken a look at

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Speaker 4: your favorite movies using an intersectional feminist lens, using the

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Speaker 4: Bechdel Test as a jumping off point for discussion. The Caitlin,

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Speaker 4: what is it? I do think like sometimes I'm like, ugh,

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Speaker 4: I can describe the Bechdel Test with ease. But then

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Speaker 4: every once in a while, if I'm having an off day,

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Speaker 4: I'm like, wait, what is it? And today's one of

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Speaker 4: those days? So what is it?

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Speaker 2: Sure? Well, you're you're feeling sick? Is that true?

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Speaker 4: Yes, I'm at my most vulnerable.

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Speaker 2: We'll take care of you, you, thank you, but yes.

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Speaker 2: The Bechtel Test is a media metric created by our

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Speaker 2: dear dear friend, Alison Bechtel. It have appeared in her

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Speaker 2: comic Dyke's Watch Out for in the eighties. Originally, it

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Speaker 2: has since been used as a more mainstream medium metric

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Speaker 2: that has many versions of it. The one that we

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Speaker 2: use requires that two characters of a marginalized gender have names,

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Speaker 2: they speak to each other, and their conversation has to

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Speaker 2: be about something other than a man, and ideally it's

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Speaker 2: a narratively relevant and meaningful conversation and not just throwaway dialogue.

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Speaker 4: Yeah, not really an issue we're going to be having

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Speaker 4: with the movie we are discussing today. Spoiler alert. If

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Speaker 4: you've seen it, you know, if you haven't, get excited.

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Speaker 4: This is a movie that well, first of all, we

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Speaker 4: had to bring in our all time guests are all timer.

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Speaker 4: We haven't made the jacket, but we will. We will

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Speaker 4: working on it to discuss the movie that we have

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Speaker 4: been and this is there's a whole conversation to be

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Speaker 4: had around this. A movie we've been trying to cover

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Speaker 4: on the show for years but has only recently become

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Speaker 4: easy to stream and access. So we are finally covering

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Speaker 4: Daughters of the Dust nineteen ninety one Julie Dash with

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Speaker 4: an incredible returning guest, Caitlyn.

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Speaker 2: Wanted to introduce her. You know her, you love her

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Speaker 2: she's a comedian. She is making her eighth appearance Holy

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Speaker 2: shit on the Bechdel Cast. Yeah it's Kenny S. Mowbley. Hello,

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Speaker 2: welcome back.

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Speaker 3: Thank you for having me.

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Speaker 5: I love being here, as evidenced by the fact that

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Speaker 5: I've been here seven times.

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Speaker 4: Before Welcome back.

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Speaker 2: I was wondering, if you recall the other episodes you've done.

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Speaker 5: I remember something new, And you know what I'm gonna say.

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Speaker 5: This is because I value our friendship so much and

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Speaker 5: we talk so regularly that I couldn't possibly remember one

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Speaker 5: specific conversation Caitlin. We've traveled the world together. I didn't

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Speaker 5: keep things like that in my mind. Okay, And so

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Speaker 5: now that I've said that, to make myself sound better,

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Speaker 5: what were my other episodes?

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Speaker 3: So sorry?

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Speaker 2: Okay?

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Speaker 4: The one I remember most vividly is the House Deella

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Speaker 4: got her Groove back episode fun episode.

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Speaker 2: Yep.

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Speaker 4: Wait, I'm going through the Wikipedia.

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Speaker 2: So I think your first episode with us, or one

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Speaker 2: of the very early ones was Casino Royale.

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Speaker 3: I love it. I'm so happy I got to discuss

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Speaker 3: that with you.

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Speaker 1: I love that.

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Speaker 5: And Max Michelson is still one of my all time crushes.

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Speaker 5: I want to make out with him.

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Speaker 3: Yesterday.

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Speaker 4: Well wait, wait, Caitlyn, I'm seeing that Kinese's first appearance

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Speaker 4: was perhaps on the Matreoon. Okay, that's what I was

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Speaker 4: wondering covering Back to the Future back in twenty eighteen.

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Speaker 3: I feel like you guys, I've known you guys since

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Speaker 3: you started this podcast. I feel like it was like.

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Speaker 4: Yeah, more then, since I don't understand why. Maybe it

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Speaker 4: was because we were mostly recording in person and that's

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Speaker 4: why it took its where for out of state guests,

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Speaker 4: that's what a because otherwise it doesn't make any sense.

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Speaker 3: Yeah.

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Speaker 5: I was like, that's bizarre because both of you guys

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Speaker 5: were on my podcast when I had a podcast, and

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Speaker 5: I like a joints.

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Speaker 2: Right, But yeah, no, I think it's because we did

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Speaker 2: it as a live show at Brown University. Ever heard

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Speaker 2: of it?

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Speaker 3: Oh?

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Speaker 4: Yeah? What wait? Why did that happen? Wow? Life is

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Speaker 4: so long? I was like, how did we end up

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Speaker 4: at Brown University talking about Back to the Future?

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Speaker 2: Right? And then the audio from that episode was not great,

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Speaker 2: so I had to like subtitle the whole thing, and

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Speaker 2: then we ended up because the audio was so bad,

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Speaker 2: we actually ended up taking that episode down, so it's

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Speaker 2: it has gone away. But it's still in our hearts.

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Speaker 4: Life is life is so long. Okay, So, but then

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Speaker 4: Casino Royale and then She's got to have It, yeah huh.

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Speaker 4: And then the most recent one before this current episode

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Speaker 4: is Zoolander. H oh, The Range, The Range.

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Speaker 2: And then you were also you also joined us for

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Speaker 2: an episode that we entitled Updates, Improvements and a discussion

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Speaker 2: with Cannis Mobley.

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Speaker 3: I don't know what I was talking about something.

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Speaker 2: If I recall correctly, it was during the George Floyd protests, Okay.

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Speaker 2: I do remember that we were basically realizing that we

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Speaker 2: needed to take a more intersectional approach to our analysis,

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Speaker 2: and so we were discussing that and what we were

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Speaker 2: going to do moving forward, and then you kind of

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Speaker 2: enough to join us for that discussion.

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Speaker 5: Thank you for genuinely. I remember you guys have been

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Speaker 5: going for ten years. I remember ten years ago in Boston.

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Speaker 5: For me, I think, Caitlyn, you already moved to LA

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Speaker 5: or did you not?

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Speaker 2: Yeah?

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Speaker 4: Yeah, I was a year behind Caitlyn. I was theory

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Speaker 4: for another year.

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Speaker 3: Yeah, wild But I'll look at us simpler times.

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Speaker 5: Yeah, you guys moved to a warmer place and have

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Speaker 5: been employed and stuff and I chose a frozen tundra

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Speaker 5: of unemployment.

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Speaker 3: But you know, we're all doing it. We're all doing our.

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Speaker 4: Better parties though better parties. Let's be honest.

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Speaker 3: Yes, I'm stale throwing parties. I love it. It makes

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Speaker 3: me really happy.

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Speaker 4: Well, welcome back the jacket. It just keeps getting held up.

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Speaker 4: It just keeps getting held up. Hard to say.

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Speaker 3: Why if there's.

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Speaker 5: Someone who's Bechdel class listener who loves sewing and giving

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Speaker 5: away jackets, you know what to do.

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Speaker 4: Truth to me, I'm like, I've been thinking. It was

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Speaker 4: like we should do a ten year photo shoot and

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Speaker 4: we should just get jackets and also get Kidney's a jacket.

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Speaker 4: Like I want a podcast themed letterman jacket. I don't

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Speaker 4: care if it's cringe. I want it.

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Speaker 2: We deserve it.

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Speaker 4: I don't know. I mean, I think I think like

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Speaker 4: block color, like going full nineties block block colors. I'll

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Speaker 4: draw some stuff up. We'll discuss. We'll discuss great, quick great.

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Speaker 2: In the meantime.

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Speaker 4: Oh yeah, we have to take the show.

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Speaker 2: Let's do the show. So we're talking about Daughters of

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Speaker 2: the Dust. Canise, what is your relationship with this movie?

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Speaker 3: So I first saw this movie.

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Speaker 5: I want to say in undergrad when we were discussing

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Speaker 5: black filmmakers, and I always thought it was cool, but

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Speaker 5: I didn't really think about it much again until Lemonade

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Speaker 5: came out in twenty sixteen and I was like, oh,

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Speaker 5: I see a lot of the visual similarities in this,

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Speaker 5: and then lately I've seen it, but I also saw

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Speaker 5: it in the context of like I saw the color

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Speaker 5: Purple for the first time last year and seeing this

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Speaker 5: and thinking about how this came five years after the

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Speaker 5: color Purple.

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Speaker 3: But it's so much there's so much more black joy.

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Speaker 5: In this film and conversations between black women that I

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Speaker 5: just really liked.

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Speaker 3: So that is my relationship with it. I'm not an expert,

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Speaker 3: but I do like it a lot.

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Speaker 5: Oh, I guess I should say. I'm from North Carolina.

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Speaker 5: This takes place off of the coast of South Carolina.

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Speaker 5: My family had a time share on Edisto Island. I

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Speaker 5: remember like Galla Gala Island and some other things talking

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Speaker 5: about Gulla culture and those islands specifically that were separated

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Speaker 5: from some of the mainland. And I find it fascinating

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Speaker 5: given that my forefathers I don't know, are from South Carolina,

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Speaker 5: how they're like so excited to go to the mainland

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Speaker 5: when the state of South Carolina sucks ass, and.

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Speaker 4: Then you're just like wow, after this, But that is

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Speaker 4: kind of there's an opportunity for Daughters of the Dust

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Speaker 4: Attorney to a completely different movie very quickly, when it's

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Speaker 4: like this beautiful, like painful departure, comings, goings, all this,

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Speaker 4: and then you know, shortly after they get to the mainland,

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Speaker 4: they're like, well, this fucking blows.

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Speaker 5: And that's like, that's how I viewed the film, where

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Speaker 5: I was like, they're so excited to go and I

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Speaker 5: know where they're going is garbage.

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Speaker 2: I'm just like, well, aren't they gonna aren't they planning

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Speaker 2: to migreat north Once they get to the main they

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Speaker 2: talk about like Nova Scotia and stuff.

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Speaker 5: Because goddamn South Caro And if you're a listener of

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Speaker 5: this show and you live in South Carolina, I'm sorry.

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Speaker 5: And also we will exist and you can move because

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Speaker 5: that state is awful. They have a horrible education system,

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Speaker 5: there's culture where I just it's not a good state

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Speaker 5: and you should leave that.

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Speaker 4: Issay yisde Oh goodness, Jamie, what's your history with the movie?

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Speaker 4: Kind of similar? I mean, I I was not. I mean,

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Speaker 4: my film program failed me in so many ways, and

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Speaker 4: I did not learn of this in college, although I

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Speaker 4: was forced to take a course I've brought up on

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Speaker 4: the show many times. Allen. Course, that's where they were like,

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Speaker 4: this is how we're going to spend our time. But

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Speaker 4: so I think I was not. I mean, it is

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Speaker 4: really interesting how Beyonce has had a hand in giving

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Speaker 4: this movie a second life for people who hadn't seen

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Speaker 4: it because it was a very difficult movie to see

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Speaker 4: you for some time. I yeah, I think we started

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Speaker 4: talking about covering this movie on the Bechdel Cast in

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Speaker 4: like twenty nineteen. There was I tried to get a

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Speaker 4: ticket to see it at Vidiots last year, but it

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Speaker 4: sold out. Like it's just been a very difficult movie,

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Speaker 4: at least for me to find. I know we've tried

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Speaker 4: to because whatever show policy is, like, we want our

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Speaker 4: listeners to be able to watch the movie we're talking about.

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Speaker 4: And so finally, I think fairly recently it was added

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Speaker 4: to the Criterion Channel and I am engaged to a man,

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Speaker 4: so I have access to a Criterion Channel subscription, of course.

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Speaker 5: So rats on your engagement. I don't think I said

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Speaker 5: that before.

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Speaker 4: Yeah, look, just slipping it in there.

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Speaker 2: Wow, brag. It's also on Canopy.

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Speaker 4: That's how I watched it. Excellent. Then you don't need

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Speaker 4: a man to watch.

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Speaker 2: Doctors of the You just need a library card.

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Speaker 4: You need a library card.

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Speaker 5: The Brooklyn Library does not have Canopy, which is fucked up.

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Speaker 5: But I was able to get it on Amazon. I

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Speaker 5: know Amazon's been no, Yeah, it was Amazon and it

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Speaker 5: was three dollars and ninety nine cents.

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Speaker 4: So everyone, it is an accessible movie for you to

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Speaker 4: watch now, no excuses. But yeah, it was really fun

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Speaker 4: to finally get to watch it, and then even more

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Speaker 4: fun to listen to a lot of Julie Dash interviews.

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Speaker 4: She's so fascinating and so cool and has done so

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Speaker 4: much like world building off of this. She's written two

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Speaker 4: books off of this story, including one with Belle Hooks. Like,

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Speaker 4: there's a lot of very interesting and often frustrating lore

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Speaker 4: that comes with this movie. So I'm very excited to

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Speaker 4: talk about it, Caitlyn. What's your history?

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Speaker 2: I hadn't seen it before. This was my first time

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Speaker 2: watching it, and I am excited to talk about it.

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Speaker 2: My history is is it's four days long, so there's

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Speaker 2: not much to say, but I'm delighted that we're finally

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Speaker 2: covering it. Yeah, like you said, Jamie, we've been trying

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Speaker 2: to for years, and now it's the time, and I'm

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Speaker 2: excited that it's here. So let's take a quick break

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Speaker 2: and then we'll come back for the recap. And we're back.

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Speaker 2: I'll place a content warning at the top for discussion

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Speaker 2: of rape. We don't see any rape or assault or

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Speaker 2: anything on screen, but the characters talk about a rape

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Speaker 2: that happened in the backstory, so just so everyone is aware,

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Speaker 2: we open on text on screen saying that at the

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Speaker 2: turn of the century, See Island Galas, descendants of African captives,

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Speaker 2: remained isolated from the mainland of South Carolina and Georgia,

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Speaker 2: and as a result of their isolation, the Gulla created

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Speaker 2: and maintained a distinct, imaginative and original African American culture.

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Speaker 2: Galah communities recalled, remembered, and recollected much of what their

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Speaker 2: ancestors brought with them from Africa. Then we open on

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Speaker 2: Ebo Landing, which is an area of I think Saint

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Speaker 2: Simon's Island. We're in nineteen oh two.

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Speaker 4: Also, not for nothing not to immediately center myself. I

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Speaker 4: need this incredible film about Black Joy. But this whole

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Speaker 4: movie takes place on my birthday. They were like August eighteenth,

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Speaker 4: and I was like August eighteenth, mentioned ye, that's right.

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Speaker 4: I was not around, but I felt immediately locked in.

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Speaker 4: I was like, all right, something amazing's gonna happen today.

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Speaker 4: I can feel it.

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Speaker 3: Okay.

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Speaker 5: It being August, I totally forgot that, Like, I know

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Speaker 5: how hot it gets in North Carolina and South Carolina

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Speaker 5: is worse.

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Speaker 3: And for them to be wearing so many layers, yeah,

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Speaker 3: in August.

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Speaker 5: I'm surprised that they're not fainting, falling out like lots

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Speaker 5: of horrible things ever following them. That's all I wanted

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Speaker 5: to say.

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Speaker 2: They're not sweating. I'm like I would be drenched.

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Speaker 4: It was. It sounded like I was like I wish

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Speaker 4: I had time to get the book. But there was

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Speaker 4: like a lot of information about how this was made,

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Speaker 4: and there was because it would get like so hot

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Speaker 4: or there was like a hurricane that took place in

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Speaker 4: the middle of shooting because of where they were shooting

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Speaker 4: it that the actors kind of had to be just

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Speaker 4: like on call to be like, hey, it doesn't suck

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Speaker 4: out right, now, get your cost about it, like, yeah,

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Speaker 4: because it just sounds I wonder. I don't know what

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Speaker 4: time of the year they actually shot it. I hope

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Speaker 4: it wasn't actually August. That would that would be unfortunate.

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Speaker 2: Yeah, because there's all it's humid too, I imagine, right, Yeah, yeah,

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Speaker 2: I can't. I could not handle it.

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Speaker 5: I would I wouldn't wish I was about to say,

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Speaker 5: I wouldn't wish it on my worst enemy, on my

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Speaker 5: worst enemy, Yes, I would wish this.

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Speaker 4: A lot of lot of Yeah, just like mild but

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Speaker 4: intense discomfort is if I would love to wish that

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Speaker 4: on my enemy.

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Speaker 2: Yeah, right, Okay, So we get voiceover narration from an

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Speaker 2: unborn child will meet her parents soon. But this child

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Speaker 2: is talking about all these sort of conflicting identities she has.

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Speaker 2: She says, I am the first and the last, the

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Speaker 2: honored one and the scorned one, the whore and the

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Speaker 2: holy one, wife and virgin, the barren one, and many

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Speaker 2: are my daughters, which kind of sets up this like

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Speaker 2: poetic undercurrent of the whole movie. Because this is a story,

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Speaker 2: it's like a slice of life. We're getting a lot

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Speaker 2: of like voiceover and narration, we're getting some flashbacks it's

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Speaker 2: centering on this peasant family who are gearing up to

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Speaker 2: migrate from this island to the mainland and then head north.

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Speaker 2: But we start to meet members of the family. Mary

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Speaker 2: Pisant played by Barbara Oh Everyone knows her as yellow

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Speaker 2: Mary because of her lighter skin. She is joined by

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Speaker 2: her friend and possibly lover. I couldn't get a handle

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Speaker 2: on their relationship exactly.

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Speaker 4: I was like, you know what, none of my business. Yeah,

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Speaker 4: none of my business.

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Speaker 3: Also, I have to ask, like, both of you are white.

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Speaker 2: I've noticed, Oh, yes, yes, yes.

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Speaker 5: Are you familiar with high yellow and yellow like black

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Speaker 5: people calling lighter skin black people yellow?

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Speaker 2: No, I hadn't come across that before.

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Speaker 5: No, okay, because that is like a very common thing.

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Speaker 5: That is like it's not just like, oh we picked

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Speaker 5: that name out of the hat calling someone yellow or

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Speaker 5: high yellow. We my mom's not listening to this podcast.

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Speaker 5: We joke because my mom is much lighter skin.

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Speaker 3: Than I am.

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Speaker 5: We always call her high yellow and she hates it.

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Speaker 5: She's like, leave me alone. No, I'm like regular dark.

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Speaker 5: Were like whatever, like, can you even use band aids?

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Speaker 5: Liked the color that she is and we joke about that.

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Speaker 4: So yes, Wow, I did. Yeah, I had never heard

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Speaker 4: it before.

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Speaker 2: H Anyway, So Yellow Mary. She's got a companion named Trula,

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Speaker 2: and they are traveling by boat from the mainland to

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Speaker 2: the island to kind of reconvene with the family. They

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Speaker 2: link up with Mary's cousin, Viola, played by Cheryl Lynn Bruce,

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Speaker 2: as well as a photographer named mister Snead, who Viola

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Speaker 2: had hired to document the family crossing over to the mainland.

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Speaker 3: Who guess what we saw? And she's not habit.

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Speaker 2: Wait oh, I forgot about that.

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Speaker 3: He's the boyfriend at the end to assault her.

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Speaker 4: Oh wow, Okay, Well, far more likable character in Yeah Yeah.

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Speaker 2: Other members of the family include Iona Pizzant played by

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Speaker 2: Bonnie Turpin. She receives a letter from Saint Julian last Child,

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Speaker 2: a man from the Cherokee Nation who loves Iona and

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Speaker 2: asks her not to leave with her family and to

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Speaker 2: stay behind on the island to be with him, and.

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Speaker 4: Is so handsome he's really hot.

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Speaker 2: Yeah. We then meet the parents of the unborn child

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Speaker 2: narrator This is Ula and Eli, played by Alva Rogers

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Speaker 2: and Adisa Anderson, respectively. Ula had recently been raped and

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Speaker 2: she is pregnant and they are not sure if Eli

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Speaker 2: is the father of the baby that Ula is carrying,

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Speaker 2: and Eli is really struggling with that. We meet Nana

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Speaker 2: played by Cora Lee Day. She is the elder family matriarch.

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Speaker 2: She is visiting the grave of her late husband. She

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Speaker 2: intends to stay behind on the island while the rest

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Speaker 2: of the family migrates north. Eli, who is her I

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Speaker 2: believe great grandson, comes by looking to Nana for guidance

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Speaker 2: because he feels that his wife has been like tainted

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Speaker 2: or ruined by this rape. And basically Nana is like,

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Speaker 2: quit victim blaming your wife.

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Speaker 4: Be supportive, and also like, don't push her for information

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Speaker 4: because that seems like part of what is like torturing.

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Speaker 4: Eli is like who did this? And she's like, shut up,

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Speaker 4: you know.

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Speaker 3: It's not going to help you to know who did this?

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Speaker 4: Yeah, right, And it's also just yeah, like whatever. Centering himself,

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Speaker 4: he learns his lesson, he does. He does, I appreciate you.

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Speaker 4: You never see men grow on screen. You just see

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Speaker 4: them repeat the behavior and then eventually be told all right, whatever.

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Speaker 4: So it was nice that he grows.

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Speaker 2: But before he grows, he's lashing out. He trashes some stuff,

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Speaker 2: there's this kind of push and pull in the story

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Speaker 2: about the characters, and it's mostly Nana, who has like

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Speaker 2: religious practices that derive from her African ancestors. I think

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Speaker 2: she's practicing who do and Eli and various other characters

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Speaker 2: are like, that's not gonna help, Like it doesn't do anything.

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Speaker 2: I thought you were gonna protect me, but it never

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Speaker 2: seems to work and all this stuff. So he's carrying

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Speaker 2: on about that. Then Mary arrives on the boat and

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Speaker 2: reunites with her family, some of whom are happy to

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Speaker 2: see her, though others like Auntie Hagar and Viola, who

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Speaker 2: are both very very Christian.

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Speaker 3: Yeah, they are mean.

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Speaker 2: They think that Mary is quote unquote ruined, and we'll

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Speaker 2: talk more about this. But Mary goes to visit with Nana.

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Speaker 2: Seems like they have a close bond. We also see

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Speaker 2: Mary hanging out with Trula and Yula. Oh, I don't

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Speaker 2: even realize those name is rhyme, and we get more

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Speaker 2: insight into why the family thinks that Mary is ruined.

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Speaker 2: She tells them about having a stillborn birth, how she

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Speaker 2: became a servant slash wet nurse for a rich family

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Speaker 2: who wouldn't let her leave for a while they took

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Speaker 2: her to Cuba with them, but eventually Mary was able

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Speaker 2: to leave and come back home.

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Speaker 3: I had a lot of questions about that story.

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Speaker 2: Same I had to watch it two or three times

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Speaker 2: that scene before I started to kind of understand what

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Speaker 2: was being talked about.

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Speaker 5: I watched the whole thing with subtitles, and I'm from

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Speaker 5: the South when I was like, nah, this guy be

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Speaker 5: subtitled deep. And she talks about nursing the child via

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Speaker 5: this wet nursing job that kidnapped her, but she also

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Speaker 5: talks about like I fixed the titty, and I was like, wait.

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Speaker 3: What what wha what? What? What? What? What are we saying?

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Speaker 2: What does that mean?

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Speaker 3: What did you do to tits?

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Speaker 4: I wasn't sure if it was possible that that was

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Speaker 4: like shorthand for something else, because I was like, was

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Speaker 4: she talking Because if she was talking about an actual titty,

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Speaker 4: I'm very confused. And I think that was like one

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Speaker 4: of the times where I'm like, I'm assuming this is

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Speaker 4: like shorthand that I don't know about.

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Speaker 2: I don't know.

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Speaker 4: It's like interesting because Julie Dash like in all of

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Speaker 4: her interviews about this, like was very and like I like,

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Speaker 4: rightfully so it was like I did not want to

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Speaker 4: like over explain the world in a way that the

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Speaker 4: characters wouldn't have had the need to do. But it's

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Speaker 4: but there are moments where I was like, wait a second,

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Speaker 4: I don't know, like, not only do I not understand

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Speaker 4: the context, I don't even know where I would look

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Speaker 4: for the context. I don't know where I would look

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Speaker 4: to try to understand this.

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Speaker 5: But I took it literally because as a wet nurse,

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Speaker 5: like especially if you had a stillborn birth, your body

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Speaker 5: is producing a lot of milk and you are the

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Speaker 5: wet nurse to someone else, and I guess if you're

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Speaker 5: if you're forced to continue doing that. To say fix

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Speaker 5: the titty to me would mean she did something to

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Speaker 5: make it so that she.

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Speaker 3: No longer was producing milk, right, And in that case,

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Speaker 3: I'm like, oh no, what did you do to your boobs?

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Speaker 5: Like I'm like, I'm like concerned from like a self

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Speaker 5: harm perspective, I don't know.

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Speaker 4: Yeah, well, And also just like for the time, it's

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Speaker 4: just so it's so setting after yeah, after you know,

431
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Speaker 4: however much time in the movie, like hearing that Mary

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Speaker 4: is ruined and then hearing the reason, like you can

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Speaker 4: you can tell just because it's nineteen oh two, You're like,

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Speaker 4: whatever the reason is is not going to be her fault. Yeah,

435
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Speaker 4: but that was that was an incredibly traumatic thing to

436
00:23:59,640 --> 00:24:02,240
Speaker 4: not be her faults. Well, I was. She was like

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Speaker 4: trafficked basically, like it just yeah, for sure.

438
00:24:05,640 --> 00:24:08,240
Speaker 2: Well that's what also was a little confusing to me

439
00:24:08,400 --> 00:24:13,560
Speaker 2: is that I didn't understand exactly why other characters would

440
00:24:13,560 --> 00:24:18,439
Speaker 2: perceive her experience as being the thing that ruined her.

441
00:24:19,480 --> 00:24:21,239
Speaker 2: But I was just like, it must just be like

442
00:24:21,520 --> 00:24:23,840
Speaker 2: old timey religious.

443
00:24:23,960 --> 00:24:26,560
Speaker 3: Well, was she married when she got pregnant?

444
00:24:27,240 --> 00:24:28,440
Speaker 4: Oh? Maybe.

445
00:24:28,640 --> 00:24:31,000
Speaker 5: I don't think she had a husband at that time,

446
00:24:31,320 --> 00:24:34,000
Speaker 5: which is probably why she ended up needing to go

447
00:24:34,720 --> 00:24:37,600
Speaker 5: be a wet nurse because she didn't have someone to

448
00:24:37,720 --> 00:24:40,560
Speaker 5: support her. So she might have been a victim of

449
00:24:40,560 --> 00:24:43,639
Speaker 5: sexual assault. But also she might have just slept with

450
00:24:43,680 --> 00:24:47,280
Speaker 5: someone but got pregnant and then had to leave the

451
00:24:47,359 --> 00:24:48,680
Speaker 5: island essentially.

452
00:24:48,359 --> 00:24:52,680
Speaker 2: And that's why she is perceived to be ruined.

453
00:24:53,040 --> 00:24:55,199
Speaker 3: Yes, okay, okay, okay, that's how I took it.

454
00:24:55,600 --> 00:24:58,400
Speaker 2: Yeah, no, I think that that makes sense. Yeah, yeah, yeah,

455
00:24:58,480 --> 00:25:02,360
Speaker 2: So we learn all of that. We also see other

456
00:25:02,440 --> 00:25:05,760
Speaker 2: family members throughout the movie kind of going about their day.

457
00:25:06,200 --> 00:25:11,120
Speaker 2: They're preparing food, they're packing up their belongings for this migration.

458
00:25:11,680 --> 00:25:15,280
Speaker 2: They're playing on the beach. We also occasionally get voiceover

459
00:25:15,359 --> 00:25:19,520
Speaker 2: from the unborn child, as well as like flashes of

460
00:25:19,560 --> 00:25:23,360
Speaker 2: her running around the island. She's sort of like watching

461
00:25:23,440 --> 00:25:30,040
Speaker 2: over different family members, almost like a specter who is

462
00:25:30,200 --> 00:25:31,400
Speaker 2: not born.

463
00:25:31,280 --> 00:25:35,240
Speaker 5: Yet, like a helpful prespector a prespector.

464
00:25:37,280 --> 00:25:39,160
Speaker 3: I mean, aren't we all prespectors?

465
00:25:39,160 --> 00:25:42,600
Speaker 4: But yeah, yeah, babies are future ghosts as well.

466
00:25:42,760 --> 00:25:42,920
Speaker 1: So.

467
00:25:45,240 --> 00:25:50,359
Speaker 2: Exactly so we see that. You can tell because I'm like,

468
00:25:50,440 --> 00:25:53,520
Speaker 2: which child is which child because we never like really

469
00:25:53,560 --> 00:25:55,960
Speaker 2: meet any of the children, But she's the one with

470
00:25:56,040 --> 00:25:57,840
Speaker 2: like the blue bow in her hair. And you could

471
00:25:57,840 --> 00:26:01,000
Speaker 2: also tell that it's her because the movie slows down

472
00:26:01,119 --> 00:26:05,120
Speaker 2: into like a really slow frame rate every time she's

473
00:26:05,119 --> 00:26:09,200
Speaker 2: on screen, so you're like, Okay, that's the ghost baby.

474
00:26:09,640 --> 00:26:10,040
Speaker 3: Yeah.

475
00:26:10,320 --> 00:26:13,000
Speaker 5: I thought about that frame rate so often because it's

476
00:26:13,040 --> 00:26:15,439
Speaker 5: clear that they shot it at regular speed and then

477
00:26:15,600 --> 00:26:18,239
Speaker 5: just essentially repeated every frame twice, or even if they

478
00:26:18,240 --> 00:26:20,440
Speaker 5: did slow it down a little bit, it's the amount

479
00:26:20,480 --> 00:26:22,960
Speaker 5: of slowing down you can do within the camera, So

480
00:26:22,960 --> 00:26:25,920
Speaker 5: that's like maybe like half speed, but even that doesn't

481
00:26:26,080 --> 00:26:29,280
Speaker 5: give the visual effect that you're looking for. So it's

482
00:26:29,359 --> 00:26:31,080
Speaker 5: like kind of choppy in this way that was very

483
00:26:31,119 --> 00:26:33,840
Speaker 5: popular in the early nineties.

484
00:26:33,480 --> 00:26:35,720
Speaker 4: Because reminded, Yeah, it felt very nineties.

485
00:26:36,119 --> 00:26:38,760
Speaker 2: Yes, and lo and behold it's a movie from the nineties,

486
00:26:38,800 --> 00:26:43,200
Speaker 2: so you can believe imagine that anyway. So we see

487
00:26:43,200 --> 00:26:46,959
Speaker 2: all these things. We also see mister Sneed taking photos

488
00:26:47,040 --> 00:26:51,880
Speaker 2: of different family members Throughout the film. There's a scene

489
00:26:52,160 --> 00:26:56,560
Speaker 2: where various women in the family talk about Nana, how

490
00:26:56,600 --> 00:27:00,359
Speaker 2: she is staying behind on the island, and how different

491
00:27:00,400 --> 00:27:07,040
Speaker 2: characters feel about that. Hagar criticizes Nana's spiritual practices and

492
00:27:07,080 --> 00:27:11,040
Speaker 2: thinks they're archaic. Again, it's that like push and pull

493
00:27:11,160 --> 00:27:15,760
Speaker 2: between Christianity and who do there's also at least one

494
00:27:16,080 --> 00:27:19,800
Speaker 2: Muslim member of the family, perhaps more than one. I

495
00:27:19,840 --> 00:27:22,959
Speaker 2: was also kind of losing track of the men because

496
00:27:23,000 --> 00:27:25,000
Speaker 2: they're rarely properly introduced.

497
00:27:25,560 --> 00:27:31,040
Speaker 5: Yes, you're like, who is that whatever, there's the brother

498
00:27:31,480 --> 00:27:33,959
Speaker 5: and the guy he fights with that those those are

499
00:27:33,960 --> 00:27:36,240
Speaker 5: the black men, and everyone else is kind.

500
00:27:36,080 --> 00:27:39,080
Speaker 4: Of there Eli and mister Sneed ye.

501
00:27:40,080 --> 00:27:43,840
Speaker 2: And then there's a character named Ballal he one of

502
00:27:43,840 --> 00:27:47,280
Speaker 2: the Muslim characters. Man. Yeah, yeah, so we we like

503
00:27:47,320 --> 00:27:50,240
Speaker 2: get glimpses of some men, but it really is mostly

504
00:27:50,280 --> 00:27:53,920
Speaker 2: just aside from Eli and to a lesser extent, mister

505
00:27:53,960 --> 00:27:57,720
Speaker 2: Sneed the photographer, all the other men. I'm like, I

506
00:27:57,760 --> 00:27:58,639
Speaker 2: don't know who that is?

507
00:27:59,240 --> 00:27:59,440
Speaker 3: Yeah.

508
00:27:59,520 --> 00:28:02,440
Speaker 4: And also I mean again, just like the rare movie

509
00:28:02,560 --> 00:28:05,359
Speaker 4: where we mostly only know who the men are in

510
00:28:05,400 --> 00:28:08,639
Speaker 4: relation to the women. Yes, because it's like we really

511
00:28:08,760 --> 00:28:14,200
Speaker 4: don't know anything about Saint Julian last child other than

512
00:28:14,760 --> 00:28:17,960
Speaker 4: he is in love with one of the women. Like there,

513
00:28:18,720 --> 00:28:22,120
Speaker 4: I like that. I don't know, so rare, so rare.

514
00:28:22,280 --> 00:28:23,800
Speaker 2: Yeah, what a treat, Yeah.

515
00:28:23,680 --> 00:28:26,160
Speaker 4: To be like who is that? Oh that's someone's boyfriend.

516
00:28:26,160 --> 00:28:26,560
Speaker 4: I don't know.

517
00:28:27,680 --> 00:28:28,000
Speaker 2: I yes.

518
00:28:28,320 --> 00:28:28,560
Speaker 4: Great.

519
00:28:29,680 --> 00:28:34,719
Speaker 2: We also get voiceover from various characters talking about the

520
00:28:34,880 --> 00:28:38,000
Speaker 2: names they give their babies and what the names mean,

521
00:28:38,880 --> 00:28:43,400
Speaker 2: about how during slavery, enslavers did not keep good records

522
00:28:43,760 --> 00:28:49,280
Speaker 2: of black people's births, deaths, marriages, so enslaved Africans had

523
00:28:49,360 --> 00:28:51,880
Speaker 2: to keep track of their own family ties, and they

524
00:28:51,880 --> 00:28:55,320
Speaker 2: talk about how it's important that they keep up those

525
00:28:55,480 --> 00:28:59,120
Speaker 2: ties and the family and cultural traditions wherever they go.

526
00:29:00,360 --> 00:29:05,120
Speaker 2: Then Yula tells a story about how when their ancestors

527
00:29:05,160 --> 00:29:09,200
Speaker 2: were trafficked to North America, they got off the ship,

528
00:29:09,640 --> 00:29:12,920
Speaker 2: looked around, and then turned right back around and started

529
00:29:12,960 --> 00:29:16,680
Speaker 2: walking on the water back to Africa, a story that

530
00:29:16,760 --> 00:29:20,840
Speaker 2: later gets like obviously this is like folklore. But then

531
00:29:21,160 --> 00:29:25,000
Speaker 2: one of the men, again ruining the party, says like,

532
00:29:25,480 --> 00:29:28,600
Speaker 2: actually that didn't happen, and actually they all drowned, and

533
00:29:28,640 --> 00:29:32,200
Speaker 2: it's like, well yeah, but like you're ruining it at them.

534
00:29:33,080 --> 00:29:35,000
Speaker 5: Well, it's so much more romantic you think that they

535
00:29:35,040 --> 00:29:37,280
Speaker 5: walk back to Africa than they just drowned to death.

536
00:29:37,400 --> 00:29:38,320
Speaker 3: Come on, I.

537
00:29:38,280 --> 00:29:41,000
Speaker 4: Mean, that was that was something that I mean, I

538
00:29:41,040 --> 00:29:44,560
Speaker 4: guess again just like how poorly educated we are on

539
00:29:44,920 --> 00:29:49,480
Speaker 4: black history in American public schools. But yeah, the story

540
00:29:49,520 --> 00:29:52,360
Speaker 4: about the I mean they refer to it as a

541
00:29:52,400 --> 00:29:55,880
Speaker 4: mass suicide on Ego landing. I'd never heard about it

542
00:29:55,920 --> 00:29:59,240
Speaker 4: before I had it, and that like, I mean, it's

543
00:29:59,640 --> 00:30:01,760
Speaker 4: it's sounds bad because it is bad, but also that

544
00:30:01,840 --> 00:30:05,560
Speaker 4: it was this act of like mass resistance toward enslavement,

545
00:30:05,720 --> 00:30:12,360
Speaker 4: like as people should learn about it. Yeah, I bravely said, wow.

546
00:30:13,040 --> 00:30:15,320
Speaker 5: In case you didn't know, people should learn about the

547
00:30:15,360 --> 00:30:17,960
Speaker 5: history of the country they live in, and this includes.

548
00:30:18,040 --> 00:30:22,560
Speaker 4: I mean we've recently come to this conclusion.

549
00:30:22,800 --> 00:30:26,560
Speaker 5: Yeah, yeah, yeah, right now in twenty twenty six, we

550
00:30:26,720 --> 00:30:28,680
Speaker 5: value history, I'm kidding, we don't.

551
00:30:30,160 --> 00:30:33,160
Speaker 4: It turns out if you don't preserve it, people will

552
00:30:33,240 --> 00:30:34,840
Speaker 4: just make shit up. Bro.

553
00:30:35,680 --> 00:30:36,160
Speaker 3: I'm sorry.

554
00:30:36,480 --> 00:30:38,080
Speaker 5: I read the news today and that was on me

555
00:30:38,240 --> 00:30:40,320
Speaker 5: because I was like, oh, so these people dumb?

556
00:30:40,360 --> 00:30:44,400
Speaker 3: Then, okay, so we just believe in anything they say? Okay, okay.

557
00:30:45,040 --> 00:30:46,560
Speaker 2: Oh sad but true.

558
00:30:46,920 --> 00:30:49,800
Speaker 3: Yeah, it's scary, but let's think about this movie. That's nice,

559
00:30:50,040 --> 00:30:50,920
Speaker 3: it's pretty yes.

560
00:30:51,080 --> 00:30:57,840
Speaker 2: Yes. Nana tells the other women about the family connection

561
00:30:57,920 --> 00:31:02,080
Speaker 2: they have to maintain after they migrate Worth. She's growing

562
00:31:02,200 --> 00:31:06,360
Speaker 2: more and more upset that everyone is leaving the island.

563
00:31:07,040 --> 00:31:10,560
Speaker 2: Mary starts crying, saying that she wants to stay on

564
00:31:10,600 --> 00:31:15,240
Speaker 2: the island with Nana, and then Hagar butts in it's

565
00:31:15,280 --> 00:31:20,000
Speaker 2: always talking about Mary being quote unquote ruined, and so

566
00:31:20,280 --> 00:31:23,840
Speaker 2: Ula is like, well, you must think that I'm ruined too, yea,

567
00:31:24,400 --> 00:31:29,280
Speaker 2: And she gives this great monologue about how maybe all

568
00:31:29,320 --> 00:31:33,320
Speaker 2: the women on the island are ruined. She says, we

569
00:31:33,360 --> 00:31:36,200
Speaker 2: live our lives always expecting the worst because we feel

570
00:31:36,240 --> 00:31:40,120
Speaker 2: we don't deserve any better. She talks about their generational

571
00:31:40,160 --> 00:31:45,120
Speaker 2: trauma that even God can't protect or heal them from.

572
00:31:45,760 --> 00:31:48,680
Speaker 2: She says, maybe they're migrating because they're trying to run

573
00:31:48,720 --> 00:31:52,120
Speaker 2: away from their pain and their past and their scars.

574
00:31:52,320 --> 00:31:56,280
Speaker 2: But they need to face these things head on and

575
00:31:56,400 --> 00:32:00,000
Speaker 2: change their way of thinking, and they need to excite

576
00:32:00,400 --> 00:32:06,680
Speaker 2: and love Mary and the family ponders this. We see

577
00:32:06,680 --> 00:32:10,480
Speaker 2: a flashback with young Nana and her husband, her husband

578
00:32:11,320 --> 00:32:17,080
Speaker 2: talking about planting things in the dust, hence the title

579
00:32:17,120 --> 00:32:20,400
Speaker 2: of the movie Daughters of the Dust, and then back

580
00:32:20,400 --> 00:32:23,200
Speaker 2: in the present, Nana says that she will remain on

581
00:32:23,240 --> 00:32:27,440
Speaker 2: the island and continue planting things while she's still alive.

582
00:32:28,080 --> 00:32:30,480
Speaker 2: And she's like, by the way, when I die, I

583
00:32:30,520 --> 00:32:33,000
Speaker 2: am not going to heaven because I don't believe in

584
00:32:33,040 --> 00:32:33,280
Speaker 2: all that.

585
00:32:33,560 --> 00:32:37,800
Speaker 4: Yeah, and this, I mean, Nana is such a wonderful

586
00:32:37,840 --> 00:32:40,120
Speaker 4: character for so many reasons. But I do like that

587
00:32:40,200 --> 00:32:43,160
Speaker 4: she is like not afraid to She's like, and while

588
00:32:43,160 --> 00:32:46,760
Speaker 4: you're on your way out, God is made up. God

589
00:32:46,880 --> 00:32:50,160
Speaker 4: is a fantasy. You're like, oh, awesome, awesome.

590
00:32:51,640 --> 00:32:54,760
Speaker 2: She has made this object. I don't know quite how

591
00:32:54,760 --> 00:32:58,960
Speaker 2: to describe it, but she has bound a book and

592
00:32:59,240 --> 00:33:03,160
Speaker 2: a pouch full of her hair and her mother's hair.

593
00:33:03,880 --> 00:33:07,080
Speaker 2: There are some roots and possibly herbs like she's bound

594
00:33:07,080 --> 00:33:10,240
Speaker 2: all these things together again, like a religious artifact kind

595
00:33:10,280 --> 00:33:12,800
Speaker 2: of thing, and she wants all the members of the

596
00:33:12,840 --> 00:33:16,680
Speaker 2: family to kiss it as a way of like saying farewell,

597
00:33:16,760 --> 00:33:19,800
Speaker 2: and she's like that's how she's sending them off, and

598
00:33:19,960 --> 00:33:23,920
Speaker 2: most of the family does it, although Viola and Hagar

599
00:33:24,080 --> 00:33:27,120
Speaker 2: again the very Christian characters are like, this is blasphemy,

600
00:33:27,240 --> 00:33:28,840
Speaker 2: this is devilry, blah blah blah.

601
00:33:28,840 --> 00:33:31,960
Speaker 4: It's like a lovely, a lovely gesture she makes that.

602
00:33:32,040 --> 00:33:36,200
Speaker 4: Of course, the hyper Christian characters are unforgivably weird about yeah,

603
00:33:36,200 --> 00:33:40,240
Speaker 4: have you heard this one right?

604
00:33:40,440 --> 00:33:43,280
Speaker 5: It's like you don't have to believe in who doo

605
00:33:43,320 --> 00:33:46,240
Speaker 5: to just be like, hey, this is a nice moment

606
00:33:46,280 --> 00:33:48,000
Speaker 5: for us to be able to say goodbye. And then

607
00:33:48,080 --> 00:33:51,760
Speaker 5: these two ladies come and ruin shit, starting yelling at.

608
00:33:51,720 --> 00:33:53,480
Speaker 3: Everybody, being like, don't do this.

609
00:33:53,680 --> 00:33:56,800
Speaker 5: We're upset, and it's like, oh my gosh, if you

610
00:33:56,920 --> 00:34:01,080
Speaker 5: had like a slightly looser corset gathering thing, maybe you'd

611
00:34:01,120 --> 00:34:04,239
Speaker 5: be happier, because this is some bullshit. Also, they're the

612
00:34:04,240 --> 00:34:06,840
Speaker 5: ones with their hair pinned up in this very tight way.

613
00:34:06,880 --> 00:34:10,000
Speaker 5: It's like when someone's braids are too tight, and it's like, oh, boo.

614
00:34:10,120 --> 00:34:13,120
Speaker 5: You just need to relax, like just let those things

615
00:34:13,120 --> 00:34:14,319
Speaker 5: get loose and calm down.

616
00:34:14,520 --> 00:34:17,080
Speaker 4: It is cool though that how like throughout there's no

617
00:34:17,320 --> 00:34:20,839
Speaker 4: like clean I sort of, I think, just because I'm

618
00:34:20,840 --> 00:34:26,600
Speaker 4: so like movie brained aka smooth brained, I was waiting

619
00:34:26,800 --> 00:34:31,280
Speaker 4: for smooth smoothie brainedmoovie. But I was I was waiting

620
00:34:31,320 --> 00:34:33,919
Speaker 4: for like the moment in the movie where everyone puts

621
00:34:33,960 --> 00:34:36,719
Speaker 4: aside their differences and has a nice moment, and like,

622
00:34:36,920 --> 00:34:41,319
Speaker 4: of course that does not happen like there. Instead, it's

623
00:34:41,360 --> 00:34:44,280
Speaker 4: like truer to life and there's a moment where everyone

624
00:34:44,400 --> 00:34:47,839
Speaker 4: sort of is like, all right, we gotta we gotta

625
00:34:47,920 --> 00:34:50,600
Speaker 4: muscle through this, you know, like there's not a clean

626
00:34:50,640 --> 00:34:54,200
Speaker 4: solution anything, which makes total sense given the situation. But

627
00:34:54,280 --> 00:34:56,080
Speaker 4: I was, I like wrote it down. I was like,

628
00:34:56,360 --> 00:35:00,919
Speaker 4: oh right, not every movie features like and then we

629
00:35:01,080 --> 00:35:04,160
Speaker 4: put our differences aside so the movie could end. It's

630
00:35:04,200 --> 00:35:06,360
Speaker 4: like no, of course not totally.

631
00:35:06,560 --> 00:35:09,120
Speaker 3: Yeah, that's a difference between this and a Tyler Perry movie.

632
00:35:10,000 --> 00:35:13,200
Speaker 4: I mean, that's that's that's the smooth brain I'm operating.

633
00:35:12,920 --> 00:35:15,000
Speaker 3: And I mean the direction and the writing and like

634
00:35:15,080 --> 00:35:15,719
Speaker 3: everything else.

635
00:35:15,800 --> 00:35:20,520
Speaker 2: But also because also the narrative structure. Yes, yes, yeah,

636
00:35:21,239 --> 00:35:25,320
Speaker 2: so yeah, we have the very Christian characters being like ah,

637
00:35:25,440 --> 00:35:30,440
Speaker 2: except Viola does come around and she kisses Nana's object.

638
00:35:30,600 --> 00:35:30,759
Speaker 4: Yes.

639
00:35:31,440 --> 00:35:35,960
Speaker 2: We then cut to most of the family on a

640
00:35:36,040 --> 00:35:39,680
Speaker 2: dock waiting for the boat to take them to the mainland,

641
00:35:40,480 --> 00:35:44,040
Speaker 2: although Iona decides to stay on the island to be

642
00:35:44,160 --> 00:35:46,360
Speaker 2: with her beloved saint Julia Laschild.

643
00:35:46,560 --> 00:35:49,520
Speaker 4: Awesome. That moment was not to bring Titanic into it,

644
00:35:49,560 --> 00:35:52,920
Speaker 4: but was very rose jumping off the Oh my gosh.

645
00:35:53,800 --> 00:35:55,680
Speaker 4: I was like, yeah, jumping off the boat to be

646
00:35:56,040 --> 00:36:03,279
Speaker 4: with your hot boyfriend. I love it on a whole course. Yeah,

647
00:36:03,520 --> 00:36:04,280
Speaker 4: very romantic.

648
00:36:04,440 --> 00:36:07,600
Speaker 5: Yes, they did those visuals nice because he comes across

649
00:36:07,600 --> 00:36:10,759
Speaker 5: a field and then she hops on with her long

650
00:36:10,880 --> 00:36:12,920
Speaker 5: dress from nineteen oh two or whatever, and I'm like,

651
00:36:13,680 --> 00:36:16,000
Speaker 5: so yeah, you're like exactly.

652
00:36:17,280 --> 00:36:22,080
Speaker 2: So Iona stays behind, and so do Yula and Eli.

653
00:36:23,000 --> 00:36:28,239
Speaker 2: They stay with Nana Pizzant to raise their baby aka

654
00:36:28,320 --> 00:36:34,600
Speaker 2: the Unborn Child Narrator on the island. And that's the end.

655
00:36:35,640 --> 00:36:37,759
Speaker 2: So let's take a quick break and we'll come back

656
00:36:37,840 --> 00:36:50,239
Speaker 2: to discuss, and we're back.

657
00:36:50,440 --> 00:36:51,520
Speaker 4: And we're back, Canise.

658
00:36:51,560 --> 00:36:53,040
Speaker 2: Where would you like to start?

659
00:36:53,760 --> 00:36:56,840
Speaker 5: Okay, I think for people who haven't seen this, which

660
00:36:56,960 --> 00:36:58,640
Speaker 5: is I think a lot of people have not seen this.

661
00:36:58,719 --> 00:37:01,640
Speaker 5: They may have heard it in to Lemonade, but it

662
00:37:01,680 --> 00:37:04,759
Speaker 5: isn't as widely seen as say The Color Purple and

663
00:37:04,800 --> 00:37:07,279
Speaker 5: other movies that have been available consistently. For those of

664
00:37:07,280 --> 00:37:09,279
Speaker 5: you who are thinking of watching this movie, I think

665
00:37:09,280 --> 00:37:11,040
Speaker 5: it's really important that you know that it's only one

666
00:37:11,080 --> 00:37:13,840
Speaker 5: hundred and thirteen minutes. I'm like, I know that that's

667
00:37:13,880 --> 00:37:16,919
Speaker 5: silly and specific, but like truly, when I sat down

668
00:37:17,040 --> 00:37:20,360
Speaker 5: last night to rewatch this and was like, is this

669
00:37:20,400 --> 00:37:21,840
Speaker 5: going to be the rest of my night? And I

670
00:37:21,880 --> 00:37:24,440
Speaker 5: saw that one hundred thirteen minutes, I was like, yes,

671
00:37:26,760 --> 00:37:28,960
Speaker 5: I have time, So you have time, and you should

672
00:37:28,960 --> 00:37:29,640
Speaker 5: watch this movie.

673
00:37:30,080 --> 00:37:34,520
Speaker 4: Absolutely. I was also, as, this is very silly and

674
00:37:34,520 --> 00:37:36,440
Speaker 4: somewhat unrelated, but I know that there's like a lot

675
00:37:36,440 --> 00:37:39,160
Speaker 4: of historical context to talk about that is also like

676
00:37:39,239 --> 00:37:42,600
Speaker 4: related to Julie Dash's family specifically, and this is sort

677
00:37:42,600 --> 00:37:45,120
Speaker 4: of like a I don't know if this I never

678
00:37:45,200 --> 00:37:47,960
Speaker 4: quite understand what auto fiction is supposed to mean, but

679
00:37:48,120 --> 00:37:52,120
Speaker 4: like it is, it is sort of a fictionalized history

680
00:37:52,239 --> 00:37:56,600
Speaker 4: of her family that is based in her actual family history, right,

681
00:37:57,840 --> 00:37:59,960
Speaker 4: But you know, early in the movie where we're talking

682
00:38:00,040 --> 00:38:04,080
Speaker 4: about like this specific setting and Gulla culture in general.

683
00:38:04,440 --> 00:38:07,680
Speaker 4: I was like, wait a second, why do I sort

684
00:38:07,719 --> 00:38:09,520
Speaker 4: of know about this? And it's because there was a

685
00:38:09,800 --> 00:38:13,480
Speaker 4: chill Yes, okay, canis There was a children's show that

686
00:38:13,600 --> 00:38:16,040
Speaker 4: was on Nickelodeon in the nineties that they would show

687
00:38:16,040 --> 00:38:19,920
Speaker 4: reruns of called Gulla Gala Island. That it was like

688
00:38:20,239 --> 00:38:23,680
Speaker 4: the best show ever. I remember it so clearly and

689
00:38:23,719 --> 00:38:27,279
Speaker 4: so obviously like it was whatever. My brain was very

690
00:38:27,320 --> 00:38:29,759
Speaker 4: squishy when I was watching it, but there was like

691
00:38:29,960 --> 00:38:34,400
Speaker 4: a like really successful children's show that there's weirdly a

692
00:38:34,400 --> 00:38:37,920
Speaker 4: lot of millennials walking around with a very very slight

693
00:38:38,160 --> 00:38:42,040
Speaker 4: but memorable knowledge of this culture. I just wanted to

694
00:38:42,080 --> 00:38:44,399
Speaker 4: shout that out because I hadn't thought about it in years.

695
00:38:44,400 --> 00:38:48,319
Speaker 4: But it was made by this couple, Ron Days and

696
00:38:48,440 --> 00:38:52,680
Speaker 4: Natalie Day's real life couple. Ron also, I think, similar

697
00:38:52,719 --> 00:38:55,799
Speaker 4: to Julie dash had, you know, he'd actually grown up

698
00:38:56,040 --> 00:38:59,120
Speaker 4: there and in college, I mean there was like a

699
00:38:59,120 --> 00:39:01,960
Speaker 4: whole short I watched about it, but in college, you know,

700
00:39:02,000 --> 00:39:06,120
Speaker 4: he was had a lot of internalized shame, specifically about

701
00:39:06,440 --> 00:39:11,160
Speaker 4: the language and dialect, and then with time was able

702
00:39:11,200 --> 00:39:14,160
Speaker 4: to realize that it was like the college's problem, not his,

703
00:39:14,280 --> 00:39:17,960
Speaker 4: and then he sort of devoted his life to storytelling

704
00:39:18,040 --> 00:39:22,879
Speaker 4: and historical preservation of his culture, and it ended up

705
00:39:23,040 --> 00:39:26,600
Speaker 4: being on Nick Junior for like ten years. Yes, it's

706
00:39:26,640 --> 00:39:29,239
Speaker 4: a great, great show. I feel like they're truly not

707
00:39:29,400 --> 00:39:30,840
Speaker 4: making them like that anymore.

708
00:39:31,520 --> 00:39:34,640
Speaker 2: I did not know about this at all. You didn't, well,

709
00:39:34,840 --> 00:39:39,880
Speaker 2: I grew up without cable, so I missed out so much.

710
00:39:40,719 --> 00:39:44,160
Speaker 5: Sounded so bad for her, like, oh, like like you

711
00:39:44,160 --> 00:39:50,000
Speaker 5: didn't have cable. Oh my gosh, that's the most classest

712
00:39:50,160 --> 00:39:52,680
Speaker 5: nonsense I've ever said. I'm sorry, don't come at me.

713
00:39:53,200 --> 00:39:54,440
Speaker 5: Lots of people don't have cable.

714
00:39:54,520 --> 00:39:57,000
Speaker 4: I'm sorry, but this, I mean in this case, there

715
00:39:57,120 --> 00:40:00,359
Speaker 4: was like I mean again, I'm like, I don't hang

716
00:40:00,440 --> 00:40:03,480
Speaker 4: out with small children currently. I did nieces and nephews,

717
00:40:03,840 --> 00:40:06,360
Speaker 4: but like, I just don't think that there's like shows

718
00:40:06,400 --> 00:40:09,879
Speaker 4: this like culturally specific that are really around anymore. And

719
00:40:11,320 --> 00:40:13,600
Speaker 4: I loved it. I loved there. They also had like

720
00:40:13,680 --> 00:40:16,840
Speaker 4: a muppet, of course, because it was the nineties on Nickelodeon,

721
00:40:16,840 --> 00:40:20,520
Speaker 4: they had a muppet named Binya Binya and I had

722
00:40:20,520 --> 00:40:23,040
Speaker 4: a backpack and I was just like, wait a second,

723
00:40:23,440 --> 00:40:26,520
Speaker 4: I just I because I just hadn't seen this movie before.

724
00:40:26,560 --> 00:40:29,120
Speaker 4: I was like, I know, like two whole things, which

725
00:40:29,120 --> 00:40:31,920
Speaker 4: is more than I thought I would know. So for

726
00:40:32,040 --> 00:40:36,000
Speaker 4: fellow millennials that remember watching Gullagala Island, shout out to

727
00:40:36,600 --> 00:40:39,799
Speaker 4: all of you. Hell yeah, And I guess with that,

728
00:40:40,520 --> 00:40:44,080
Speaker 4: let's get into some more historical context.

729
00:40:44,920 --> 00:40:49,160
Speaker 2: Yeah, I did some research on Julie dash Yes, that

730
00:40:49,400 --> 00:40:50,840
Speaker 2: I'd like to share.

731
00:40:51,160 --> 00:40:52,520
Speaker 4: So it's so interesting.

732
00:40:53,000 --> 00:40:55,279
Speaker 5: I know, I didn't do any reading, and I'm so

733
00:40:55,320 --> 00:40:56,480
Speaker 5: excited to find all this out.

734
00:40:56,760 --> 00:40:57,360
Speaker 4: Yeah.

735
00:40:57,400 --> 00:41:00,000
Speaker 2: So one of the reasons this movie is so significan

736
00:41:00,360 --> 00:41:03,720
Speaker 2: is that it was the first feature length film directed

737
00:41:03,800 --> 00:41:08,359
Speaker 2: by a black American woman to get a general theatrical

738
00:41:08,480 --> 00:41:09,600
Speaker 2: release in the US.

739
00:41:09,920 --> 00:41:14,240
Speaker 4: And just a reminder, this was in nineteen ninety two. Yeah,

740
00:41:14,280 --> 00:41:17,279
Speaker 4: well two's when it was like actually released. Like it

741
00:41:17,320 --> 00:41:20,720
Speaker 4: also took a full year to get distribution, even after

742
00:41:20,840 --> 00:41:22,120
Speaker 4: it did great at Sundance.

743
00:41:22,400 --> 00:41:25,640
Speaker 3: Okay, so there were films for eighty years, yes.

744
00:41:25,520 --> 00:41:28,800
Speaker 4: And other films by black American women, but like nothing

745
00:41:28,840 --> 00:41:33,840
Speaker 4: that actually got distributed before. I'm just like, that is

746
00:41:34,000 --> 00:41:36,440
Speaker 4: such a depressing fact, truly, But there.

747
00:41:36,320 --> 00:41:40,440
Speaker 2: It is so very monumental film for many reasons, and

748
00:41:40,520 --> 00:41:43,200
Speaker 2: that being one of them. And then to kind of

749
00:41:43,760 --> 00:41:48,360
Speaker 2: flash back a little bit into Julie Dash's early career.

750
00:41:48,960 --> 00:41:51,440
Speaker 2: So she received a master's degree, and I'm sure she

751
00:41:51,560 --> 00:41:53,560
Speaker 2: never wants to talk about it or bring it up,

752
00:41:54,360 --> 00:41:58,000
Speaker 2: but she got an MFA from UCLA Film School. Oh

753
00:41:58,360 --> 00:42:01,080
Speaker 2: and she's one of the members of what is called

754
00:42:01,320 --> 00:42:05,439
Speaker 2: the La Rebellion, which I didn't know about, so thank

755
00:42:05,520 --> 00:42:10,440
Speaker 2: you Wikipedia for telling me. But the La Rebellion was

756
00:42:10,640 --> 00:42:15,640
Speaker 2: a group of black students who studied at specifically UCLA

757
00:42:15,719 --> 00:42:20,160
Speaker 2: Film School from the late nineteen sixties to the late nineties,

758
00:42:20,880 --> 00:42:26,600
Speaker 2: and their mission was to basically create original black cinematic stories.

759
00:42:26,680 --> 00:42:32,920
Speaker 2: They often made experimental and unconventional films that rebel, hence

760
00:42:33,040 --> 00:42:42,440
Speaker 2: the name La Rebellion against what against the racial stereotypes

761
00:42:42,480 --> 00:42:45,440
Speaker 2: and prejudices present in Hollywood films.

762
00:42:45,520 --> 00:42:48,359
Speaker 4: Yes, she has like a bunch of interviews like to

763
00:42:48,400 --> 00:42:52,759
Speaker 4: this effect about how when she was going to college

764
00:42:52,800 --> 00:42:55,799
Speaker 4: and also just like growing up in general, like most

765
00:42:55,840 --> 00:43:00,799
Speaker 4: of the black art sing was blaxploitation movies, Like it

766
00:43:00,880 --> 00:43:03,960
Speaker 4: was an early goal of hers that is like very

767
00:43:03,960 --> 00:43:08,680
Speaker 4: clearly reflected in this movie to show a black experience

768
00:43:08,719 --> 00:43:11,239
Speaker 4: that is not a black exploitation movie, but like specifically

769
00:43:11,280 --> 00:43:13,720
Speaker 4: a gentler, more feminine story.

770
00:43:14,120 --> 00:43:15,600
Speaker 3: Hell yeah.

771
00:43:15,640 --> 00:43:19,719
Speaker 2: And she was inspired by the works of authors like

772
00:43:19,800 --> 00:43:23,799
Speaker 2: Toni Morrison, Tony kid Bambara, and Alice Walker. And she

773
00:43:23,880 --> 00:43:27,919
Speaker 2: was basically like, I want to make movies like those stories. Yeah,

774
00:43:28,080 --> 00:43:31,720
Speaker 2: And so she began making short films. There's a small

775
00:43:31,760 --> 00:43:36,000
Speaker 2: handful that she made in the seventies and eighties, and

776
00:43:36,080 --> 00:43:39,040
Speaker 2: then she started working on Daughters of the Dust, where,

777
00:43:39,120 --> 00:43:43,480
Speaker 2: like you said, Jamie, she was inspired by her father's

778
00:43:43,719 --> 00:43:49,560
Speaker 2: Gola family, who migrated from a similar place around the

779
00:43:49,560 --> 00:43:54,040
Speaker 2: same time as the characters in the movie. She originally

780
00:43:54,080 --> 00:43:57,520
Speaker 2: planned it as a short film with no dialogue, basically

781
00:43:57,600 --> 00:44:03,680
Speaker 2: just like a visual account of this family's preparation to migrate.

782
00:44:03,960 --> 00:44:05,640
Speaker 2: But then she's like, well, what if I make it

783
00:44:05,680 --> 00:44:07,759
Speaker 2: into a feature and what if I include dialogue? And

784
00:44:07,800 --> 00:44:10,120
Speaker 2: so she wrote the screenplay for Daughters of the Dust.

785
00:44:10,239 --> 00:44:12,120
Speaker 4: And this all took place over the course of, like

786
00:44:12,200 --> 00:44:15,000
Speaker 4: I think, over a decade. She was trying to she

787
00:44:15,080 --> 00:44:17,319
Speaker 4: was like reconceiving what this movie could look like and

788
00:44:17,360 --> 00:44:20,759
Speaker 4: then trying to get money to make it. And that's like,

789
00:44:20,960 --> 00:44:24,120
Speaker 4: I don't know, stuff I find interesting and frustrating is

790
00:44:24,200 --> 00:44:28,319
Speaker 4: just like how many no's she got when and how

791
00:44:28,360 --> 00:44:31,200
Speaker 4: like uncompromising she was and what she wanted to do,

792
00:44:31,280 --> 00:44:34,120
Speaker 4: because a lot of the feedback she was getting was

793
00:44:34,320 --> 00:44:37,719
Speaker 4: like in relation to like how the screenplay is composed,

794
00:44:37,719 --> 00:44:41,560
Speaker 4: where it's like a nonlinear narrative that she said was

795
00:44:41,760 --> 00:44:46,640
Speaker 4: partially inspired by creole storytelling, and how like this ritual

796
00:44:46,760 --> 00:44:49,920
Speaker 4: and this remembrance would have actually gone versus like adhering

797
00:44:49,960 --> 00:44:53,080
Speaker 4: to like once upon a time narratives and then.

798
00:44:52,960 --> 00:44:55,560
Speaker 2: They live happily ever after kind of thing.

799
00:44:55,400 --> 00:44:57,600
Speaker 4: Right, like the thing I was expecting of, Like and

800
00:44:57,600 --> 00:45:01,760
Speaker 4: then they're gonna put aside their religious differences whatever the hell.

801
00:45:02,160 --> 00:45:04,759
Speaker 4: But but she was very like adamant about like no,

802
00:45:04,920 --> 00:45:07,120
Speaker 4: this is this is like how this would have gone,

803
00:45:07,200 --> 00:45:08,920
Speaker 4: and this is like the lyrical way I want to

804
00:45:08,960 --> 00:45:11,359
Speaker 4: approach this, And so it just took a really long

805
00:45:11,400 --> 00:45:14,600
Speaker 4: time for her to get the funding to make it happen.

806
00:45:15,080 --> 00:45:15,239
Speaker 6: Huh.

807
00:45:15,719 --> 00:45:17,680
Speaker 5: It makes so much sense to me when you say

808
00:45:17,680 --> 00:45:20,759
Speaker 5: that it started off as like a silent short or

809
00:45:20,920 --> 00:45:24,279
Speaker 5: silent in the way that there's not dialogue, because there

810
00:45:24,280 --> 00:45:27,920
Speaker 5: are so many really beautiful shots in this so like

811
00:45:27,960 --> 00:45:31,640
Speaker 5: even at the beginning when the lady has placed under

812
00:45:31,680 --> 00:45:35,000
Speaker 5: her bed, like a glass and flowers in it that

813
00:45:35,080 --> 00:45:38,840
Speaker 5: looks like a painting. It's lit beautifully, and there's lots

814
00:45:38,840 --> 00:45:41,840
Speaker 5: of these Like it's something I noticed because it's so

815
00:45:42,400 --> 00:45:45,120
Speaker 5: pacing wise different than what we see today, where there

816
00:45:45,120 --> 00:45:47,400
Speaker 5: are these beautiful shots of people walking on the beach

817
00:45:47,880 --> 00:45:51,160
Speaker 5: or like dresses or silk and or not silk, what

818
00:45:51,280 --> 00:45:55,040
Speaker 5: is that lace? You can see the different fabricactures and stuff.

819
00:45:55,040 --> 00:45:57,720
Speaker 5: So she's really playing in the visuals in a nice

820
00:45:57,800 --> 00:46:00,680
Speaker 5: way where words aren't necessary.

821
00:46:00,800 --> 00:46:03,040
Speaker 3: But then on top of that, there is this.

822
00:46:03,120 --> 00:46:07,160
Speaker 5: Story where these people are saying sometimes silly things to

823
00:46:07,200 --> 00:46:07,560
Speaker 5: each other.

824
00:46:08,920 --> 00:46:10,120
Speaker 3: I'm sorry I say it that way.

825
00:46:10,160 --> 00:46:13,239
Speaker 5: But her speech at the end where she's like, ah,

826
00:46:13,280 --> 00:46:16,120
Speaker 5: like very upset, I was like, okay, all right, somebody's

827
00:46:16,320 --> 00:46:18,880
Speaker 5: someone's getting their capital a acting on and I see that.

828
00:46:20,320 --> 00:46:21,880
Speaker 4: Okay, we're submitting for awards, got it?

829
00:46:22,000 --> 00:46:23,200
Speaker 3: Yeah?

830
00:46:23,480 --> 00:46:26,759
Speaker 4: Just one word. So this is from the book on

831
00:46:26,800 --> 00:46:31,200
Speaker 4: the production of this movie and also featured on scholarly

832
00:46:31,239 --> 00:46:36,120
Speaker 4: journal Wikipedia. Julia Dash talking about the structure of this

833
00:46:36,280 --> 00:46:39,120
Speaker 4: movie and like why she chose to do that. She says, quote,

834
00:46:39,160 --> 00:46:41,400
Speaker 4: I didn't want to tell a historical drama about African

835
00:46:41,440 --> 00:46:44,280
Speaker 4: American women in the same way I had seen other dramas,

836
00:46:44,600 --> 00:46:47,480
Speaker 4: I decided to work with a different type of narrative

837
00:46:47,520 --> 00:46:51,160
Speaker 4: structure and that the typical male oriented Western narrative structure

838
00:46:51,280 --> 00:46:54,080
Speaker 4: was not appropriate for this particular film. So I let

839
00:46:54,080 --> 00:46:56,560
Speaker 4: the story unravel and reveal itself in a way in

840
00:46:56,600 --> 00:46:59,279
Speaker 4: which an African Gullah would tell the story, because that's

841
00:46:59,320 --> 00:47:02,080
Speaker 4: part of our tradition. The story unfolds throughout this day

842
00:47:02,080 --> 00:47:05,000
Speaker 4: and a half in various vignettes. It unfolds and comes back.

843
00:47:05,200 --> 00:47:07,440
Speaker 4: It's a different way of telling a story. It's totally

844
00:47:07,480 --> 00:47:11,480
Speaker 4: different and new, which is great. And she's also I

845
00:47:11,520 --> 00:47:14,600
Speaker 4: mean I haven't heard her, and I mean this is

846
00:47:14,600 --> 00:47:17,279
Speaker 4: I've watched like three or four interviews, so maybe she does,

847
00:47:17,400 --> 00:47:21,879
Speaker 4: but I haven't heard her speak to specific movies that

848
00:47:22,320 --> 00:47:25,160
Speaker 4: did this. But I mean it's like you have to

849
00:47:25,280 --> 00:47:28,120
Speaker 4: imagine that the color purple is sort of on her

850
00:47:28,200 --> 00:47:31,600
Speaker 4: mind as she is like and other stories because that's

851
00:47:31,719 --> 00:47:34,160
Speaker 4: you know, like a story by Alice Walker that was

852
00:47:34,320 --> 00:47:39,960
Speaker 4: famously adapted by Steven Spielbe, and you know, like it

853
00:47:40,120 --> 00:47:42,920
Speaker 4: just I don't know, I really admire how much she

854
00:47:43,000 --> 00:47:44,840
Speaker 4: stuck to her guns and like, Nope, this is the

855
00:47:44,840 --> 00:47:47,439
Speaker 4: way the story is being told. And if it takes

856
00:47:47,520 --> 00:47:50,520
Speaker 4: longer to get it made that way, then fine, agreed.

857
00:47:50,920 --> 00:47:53,279
Speaker 4: But also this it drives me up a wall that

858
00:47:53,320 --> 00:47:55,440
Speaker 4: this is like another thing we talk about on the

859
00:47:55,440 --> 00:47:59,400
Speaker 4: show all the time that she has in the years since,

860
00:47:59,760 --> 00:48:04,120
Speaker 4: really struggled to get funding for a second big feature.

861
00:48:04,160 --> 00:48:06,400
Speaker 4: She's directed a lot of other things, she's directed a

862
00:48:06,440 --> 00:48:10,720
Speaker 4: lot for television, but they're really it's like she didn't

863
00:48:10,760 --> 00:48:13,600
Speaker 4: get the money and the opportunities that, you know, a

864
00:48:13,600 --> 00:48:16,080
Speaker 4: white guy in the same position would have gotten. Even

865
00:48:16,080 --> 00:48:18,320
Speaker 4: though this is like considered one of the best movies

866
00:48:18,360 --> 00:48:21,839
Speaker 4: of the twentieth century. I'm like, it's just it just

867
00:48:22,000 --> 00:48:24,160
Speaker 4: makes you want up bah yeah.

868
00:48:25,239 --> 00:48:25,799
Speaker 2: Yeah.

869
00:48:25,880 --> 00:48:29,200
Speaker 5: So I also recently saw The Color Purple for the

870
00:48:29,200 --> 00:48:32,319
Speaker 5: first time, and I read the book and I feel

871
00:48:32,320 --> 00:48:36,080
Speaker 5: like this is in direct conversation with that because it

872
00:48:36,120 --> 00:48:38,200
Speaker 5: is black people and they're not that far so these

873
00:48:38,239 --> 00:48:42,040
Speaker 5: people are in the islands off of South Carolina. That

874
00:48:42,120 --> 00:48:45,120
Speaker 5: story I think takes place Georgia, South Carolina, maybe into

875
00:48:45,120 --> 00:48:46,720
Speaker 5: North Carolina, I think is where it was filmed.

876
00:48:46,719 --> 00:48:48,120
Speaker 3: But both of.

877
00:48:48,080 --> 00:48:50,759
Speaker 5: These are groups of people whose lives are affected by

878
00:48:52,040 --> 00:48:58,280
Speaker 5: heavy segregation, racist policies all that. And in The Color Purple,

879
00:48:58,320 --> 00:49:00,640
Speaker 5: which is directed by aguish Man.

880
00:49:00,840 --> 00:49:02,240
Speaker 3: The white people are there.

881
00:49:02,360 --> 00:49:06,279
Speaker 5: It is a threat that they're constantly addressing here. I

882
00:49:06,320 --> 00:49:08,600
Speaker 5: love that there are no white people in this movie.

883
00:49:08,760 --> 00:49:11,280
Speaker 5: They're just not there. Like there's the mention that someone

884
00:49:11,800 --> 00:49:14,920
Speaker 5: potentially a white person raped someone, but you don't know

885
00:49:15,200 --> 00:49:17,880
Speaker 5: who it is and it's not their story. They're not

886
00:49:18,040 --> 00:49:22,239
Speaker 5: there for you to wonder about intent, nothing. It's just like,

887
00:49:22,480 --> 00:49:24,640
Speaker 5: this is a bad thing that has happened. We're not

888
00:49:24,719 --> 00:49:27,200
Speaker 5: skating over it. We're not acting as though this stuff

889
00:49:27,239 --> 00:49:30,240
Speaker 5: doesn't happen. But the main push of these people's lives

890
00:49:30,560 --> 00:49:33,880
Speaker 5: is not necessarily that white.

891
00:49:33,640 --> 00:49:36,400
Speaker 3: People are making it difficult. And I really appreciated that.

892
00:49:36,800 --> 00:49:37,320
Speaker 4: Absolutely.

893
00:49:37,400 --> 00:49:39,720
Speaker 2: Yeah, not a white person to be seen on screen.

894
00:49:40,160 --> 00:49:43,400
Speaker 2: I think someone mentions Teddy Roosevelt.

895
00:49:42,960 --> 00:49:44,640
Speaker 4: Ye in the background.

896
00:49:45,000 --> 00:49:48,839
Speaker 7: Yeah, but that's basically it, yeah, which is like part

897
00:49:48,880 --> 00:49:53,279
Speaker 7: of I mean so, And because the movie intentionally is

898
00:49:53,320 --> 00:49:55,800
Speaker 7: not going to give you the Wikipedia.

899
00:49:55,160 --> 00:49:59,839
Speaker 4: Page for the Calagichi people, we will. We probably will.

900
00:50:01,040 --> 00:50:04,320
Speaker 4: So in case you did not grow up watching Gallagala

901
00:50:04,360 --> 00:50:09,000
Speaker 4: Island or you received it and you also received a

902
00:50:09,040 --> 00:50:13,360
Speaker 4: poor American education, a brief primer on who the Gallagichi

903
00:50:13,480 --> 00:50:18,640
Speaker 4: people are. We are learning specifically about this island, Egbo Island.

904
00:50:18,880 --> 00:50:22,400
Speaker 4: This community came obviously from people in the slave trade

905
00:50:22,400 --> 00:50:29,399
Speaker 4: who sort of abandoned society and through demonstrations like that

906
00:50:29,560 --> 00:50:34,280
Speaker 4: mass suicide in resistance to being enslaved, the Gullagichi people

907
00:50:34,840 --> 00:50:40,920
Speaker 4: were quite secluded from the rest of American culture intentionally so,

908
00:50:41,040 --> 00:50:42,920
Speaker 4: which is like so much of what this movie is about,

909
00:50:43,280 --> 00:50:46,560
Speaker 4: to the point where they developed their own language, their

910
00:50:46,560 --> 00:50:50,360
Speaker 4: own dialects, their own food, just an entirely separate culture

911
00:50:50,960 --> 00:50:54,000
Speaker 4: that I feel like like a lot of cultures that

912
00:50:54,000 --> 00:50:57,680
Speaker 4: were not well educated on, including indigenous cultures, is still

913
00:50:57,760 --> 00:51:00,640
Speaker 4: very much around today. I feel like everybody you know

914
00:51:00,680 --> 00:51:03,319
Speaker 4: in the same way we talk about indigenous cultures is

915
00:51:03,600 --> 00:51:06,879
Speaker 4: definitely worth saying, and that the Goligichi people are still

916
00:51:06,920 --> 00:51:11,440
Speaker 4: fighting for funding and land protection and these narratives that

917
00:51:11,560 --> 00:51:16,880
Speaker 4: are frustrating and familiar, but that this period of time

918
00:51:17,560 --> 00:51:22,319
Speaker 4: that is reflected in Julie Dash's personal family history is

919
00:51:22,560 --> 00:51:25,600
Speaker 4: when you know there was a fair amount of Goligichi

920
00:51:25,640 --> 00:51:28,680
Speaker 4: people who decided to go to the mainland to seek

921
00:51:28,680 --> 00:51:33,880
Speaker 4: out different opportunities. And that's where you get all the

922
00:51:34,040 --> 00:51:37,600
Speaker 4: Christianity of it, all the tools of the colonizer of

923
00:51:37,680 --> 00:51:42,000
Speaker 4: it all. And this internalized you know that we see

924
00:51:42,080 --> 00:51:45,719
Speaker 4: in the characters that come with Yellow Mary, is this

925
00:51:45,840 --> 00:51:52,080
Speaker 4: internalized dislike for Goligichi culture. And yeah, so that's very

926
00:51:52,200 --> 00:51:53,839
Speaker 4: very very basic, but there it is.

927
00:51:54,200 --> 00:51:56,960
Speaker 5: I like how they also demonstrated that in a lot

928
00:51:57,000 --> 00:52:02,160
Speaker 5: of the hairstyles. So the hairstyles the black women ranges

929
00:52:02,200 --> 00:52:06,920
Speaker 5: from short locks of the older grandmother character to like

930
00:52:07,360 --> 00:52:09,120
Speaker 5: I don't know what the style is called, and please

931
00:52:09,200 --> 00:52:10,560
Speaker 5: don't come for me, Jesus Christ.

932
00:52:10,760 --> 00:52:11,759
Speaker 3: They're gonna be so mad.

933
00:52:11,920 --> 00:52:14,239
Speaker 5: But it's like where it's like very thin and then

934
00:52:14,280 --> 00:52:16,400
Speaker 5: a puff at the end and lots of little spikes

935
00:52:16,440 --> 00:52:17,000
Speaker 5: around the head.

936
00:52:17,280 --> 00:52:20,000
Speaker 3: I think that was there. We had twists.

937
00:52:20,760 --> 00:52:23,680
Speaker 5: We had just all sorts of different styles from the

938
00:52:23,719 --> 00:52:26,839
Speaker 5: people who seemed like happy to be there, and then

939
00:52:26,920 --> 00:52:30,319
Speaker 5: the white Christian colonizers. Their hair was shaped in such

940
00:52:30,320 --> 00:52:33,720
Speaker 5: a way as to mimic the white styles of the time.

941
00:52:34,040 --> 00:52:36,919
Speaker 5: And I like that it's starting to come down when

942
00:52:37,520 --> 00:52:39,640
Speaker 5: and I can't remember her name, she was a Christian

943
00:52:39,719 --> 00:52:41,319
Speaker 5: lady on the boat at the beginning who was like,

944
00:52:41,640 --> 00:52:43,240
Speaker 5: oh's so prim and proper.

945
00:52:44,600 --> 00:52:45,560
Speaker 3: Viola viola.

946
00:52:45,600 --> 00:52:48,440
Speaker 5: I didn't like that bitch, but she at the end,

947
00:52:48,680 --> 00:52:54,160
Speaker 5: right before she kisses the grandmother's books slash who new thing,

948
00:52:54,800 --> 00:52:56,719
Speaker 5: you can see some of her hairs come out, and

949
00:52:56,800 --> 00:52:59,279
Speaker 5: I think that that was probably a choice to demonstrate

950
00:52:59,320 --> 00:53:02,960
Speaker 5: that she has instead of being so tightly wound up,

951
00:53:03,200 --> 00:53:05,040
Speaker 5: some of her hair is now coming out of this

952
00:53:05,400 --> 00:53:08,640
Speaker 5: very strong structure, and she will go now over to

953
00:53:08,760 --> 00:53:10,880
Speaker 5: the book and give it a kiss because she's letting

954
00:53:10,920 --> 00:53:12,520
Speaker 5: go of some of whatever.

955
00:53:12,200 --> 00:53:17,320
Speaker 3: The fuck was super tight. Okay, what I wanted to

956
00:53:17,320 --> 00:53:18,520
Speaker 3: say was shoved up her ass.

957
00:53:18,680 --> 00:53:22,840
Speaker 5: But it just like the tightness of the hair corresponds

958
00:53:22,880 --> 00:53:26,800
Speaker 5: to me with the tightness of these people being uptight

959
00:53:27,160 --> 00:53:29,680
Speaker 5: and high and mighty with their Christianity.

960
00:53:30,640 --> 00:53:35,200
Speaker 2: She's also wearing a dress that comes buttoned all the

961
00:53:35,239 --> 00:53:36,440
Speaker 2: way up to her neck.

962
00:53:36,680 --> 00:53:39,560
Speaker 3: It's oh, it's like ninety five degrees. What are you doing?

963
00:53:39,880 --> 00:53:44,200
Speaker 4: No, the hairstyling and costuming was like a big Julia

964
00:53:44,239 --> 00:53:47,560
Speaker 4: Dash did like this great interview kind of randomly. I

965
00:53:47,560 --> 00:53:49,560
Speaker 4: don't know like what the occasion was, but it was

966
00:53:49,600 --> 00:53:51,799
Speaker 4: like three years ago. She did this longer interview with

967
00:53:51,920 --> 00:53:54,800
Speaker 4: Vogue where she just sort of talked through the basics

968
00:53:54,840 --> 00:53:59,680
Speaker 4: of the production, specifically with styling because Vogue but was

969
00:53:59,719 --> 00:54:03,680
Speaker 4: talking about the wardrobe decisions they were making and the

970
00:54:03,719 --> 00:54:08,800
Speaker 4: criticism that she received at the time, specifically from white

971
00:54:08,840 --> 00:54:11,680
Speaker 4: reviewer if you can believe it. But it's clearly it's

972
00:54:11,680 --> 00:54:13,400
Speaker 4: something she brings up in a lot of interviews and

973
00:54:13,480 --> 00:54:15,719
Speaker 4: something that really stuck with her. So I'm going to

974
00:54:15,840 --> 00:54:20,920
Speaker 4: quote here from a film quarterly piece called Sisters Are

975
00:54:20,920 --> 00:54:23,440
Speaker 4: Doing It for Themselves The Contextual Labor of Black Women

976
00:54:23,920 --> 00:54:29,480
Speaker 4: by Garish Shamboo from two years ago. She writes, quote

977
00:54:29,520 --> 00:54:33,760
Speaker 4: addressing Daughters of the Dust sometimes obtuse critical reception, Dash

978
00:54:33,840 --> 00:54:36,840
Speaker 4: tells Belle Hooks of an early and widely read review

979
00:54:36,880 --> 00:54:39,799
Speaker 4: and Variety by a white male critic, Todd Carr, which

980
00:54:39,800 --> 00:54:42,600
Speaker 4: complained that the film, in her words quote, didn't explain

981
00:54:42,719 --> 00:54:45,719
Speaker 4: enough about the Gulla people, their culture, their religious traditions,

982
00:54:46,080 --> 00:54:49,719
Speaker 4: and also disparagingly liken the film to a Laura Ashley commercial.

983
00:54:50,400 --> 00:54:52,840
Speaker 4: Dash's book was partly a response to such blinkered and

984
00:54:52,880 --> 00:54:57,200
Speaker 4: incurious critical responses, but she expands in this Vogue piece,

985
00:54:57,360 --> 00:55:01,200
Speaker 4: saying that audiences and specifically like white critics of the

986
00:55:01,239 --> 00:55:05,920
Speaker 4: early nineties, were so used to, in her view, seeing

987
00:55:06,520 --> 00:55:10,200
Speaker 4: black women in a very particular way and styled in

988
00:55:10,200 --> 00:55:13,520
Speaker 4: a very particular way that the women in this period

989
00:55:13,560 --> 00:55:17,240
Speaker 4: piece wearing these flowy white dresses was viewed as inauthentic

990
00:55:17,400 --> 00:55:20,600
Speaker 4: and pandering. And this was a criticism that she mentions

991
00:55:20,640 --> 00:55:25,960
Speaker 4: getting a number of times curiating right, right, because it's like, no,

992
00:55:26,200 --> 00:55:29,839
Speaker 4: she did the research, this was what would have been worn,

993
00:55:29,920 --> 00:55:33,400
Speaker 4: and it's like and the costuming is so beautiful and specific,

994
00:55:33,520 --> 00:55:35,960
Speaker 4: and but she got a lot of pushback from it

995
00:55:36,040 --> 00:55:38,640
Speaker 4: at the time, and she you know, attributes it to

996
00:55:39,200 --> 00:55:40,960
Speaker 4: a bunch of different things. But she was just like

997
00:55:41,000 --> 00:55:46,640
Speaker 4: people were not willing to see black women as feminine.

998
00:55:46,160 --> 00:55:50,080
Speaker 5: As feminine, as dignified, Like there's something strong and dignified

999
00:55:50,480 --> 00:55:54,080
Speaker 5: and beautiful about the women that they're showing in this thing.

1000
00:55:54,320 --> 00:55:56,719
Speaker 5: And for a white guy to be like, why isn't

1001
00:55:56,719 --> 00:55:59,400
Speaker 5: this movie giving me a Wikipedia article on who the

1002
00:55:59,440 --> 00:56:03,560
Speaker 5: Gullagichi people are. I'm upset and these black women look

1003
00:56:03,640 --> 00:56:07,560
Speaker 5: too proud and put together. Clearly this is not like authentic.

1004
00:56:07,920 --> 00:56:11,160
Speaker 5: I'm just I'm like really pissed up now, like.

1005
00:56:11,719 --> 00:56:15,720
Speaker 4: Fuck, you know, right, So this piece continues. It's really

1006
00:56:15,760 --> 00:56:18,239
Speaker 4: I don't know. The more I learn about Juliet Dash,

1007
00:56:18,239 --> 00:56:21,080
Speaker 4: I'm like, God, we need more movies from her. Quote.

1008
00:56:21,120 --> 00:56:23,239
Speaker 4: In the book, Dash traces the process she followed from

1009
00:56:23,280 --> 00:56:26,960
Speaker 4: idea to script to production. Despite spending ten years researching

1010
00:56:26,960 --> 00:56:30,200
Speaker 4: Gulla culture and traditions, Dash always envisioned Daughters of the

1011
00:56:30,280 --> 00:56:33,680
Speaker 4: Dust as speculative fiction, not a piece of educational ethnography

1012
00:56:33,760 --> 00:56:37,040
Speaker 4: to inform and enlighten a white audience. To take an example,

1013
00:56:37,120 --> 00:56:40,240
Speaker 4: the hands of formerly enslaved people like Nana are blue black,

1014
00:56:40,320 --> 00:56:42,680
Speaker 4: bearing the marks of past hard labor in an indigo

1015
00:56:42,719 --> 00:56:46,560
Speaker 4: processing plant. In this the film deliberately flies against fact.

1016
00:56:46,800 --> 00:56:50,600
Speaker 4: Authoritative sources told Dash that physical contact with indigo, however prolonged,

1017
00:56:50,680 --> 00:56:53,000
Speaker 4: was not likely to leave permanent stands on human skin.

1018
00:56:53,440 --> 00:56:56,799
Speaker 4: Yet Dash chose to emphasize this counterfactual statement in order

1019
00:56:56,840 --> 00:57:00,480
Speaker 4: to create a new iconographic trope of slavery, one that

1020
00:57:00,520 --> 00:57:04,200
Speaker 4: would join other more familiar ones. So it goes on

1021
00:57:04,239 --> 00:57:07,839
Speaker 4: from there, but for any critic to accuse her of

1022
00:57:07,960 --> 00:57:11,520
Speaker 4: not doing her research and not making very intentional choices

1023
00:57:12,200 --> 00:57:17,160
Speaker 4: with how these characters are presenting and even with Nana's like,

1024
00:57:17,240 --> 00:57:19,480
Speaker 4: Nana is one of the only women who isn't wearing

1025
00:57:19,960 --> 00:57:23,480
Speaker 4: white throughout the movie, and it's because she's wearing indigo,

1026
00:57:23,520 --> 00:57:26,080
Speaker 4: which was you know what she spent much of her

1027
00:57:26,120 --> 00:57:30,560
Speaker 4: life planting and harvesting and anyways. We can link this

1028
00:57:30,600 --> 00:57:33,560
Speaker 4: piece in the description, but it just is like so

1029
00:57:33,640 --> 00:57:37,040
Speaker 4: frustrating hearing the amount of shit she had to go

1030
00:57:37,080 --> 00:57:39,320
Speaker 4: through not only to get the movie made but also

1031
00:57:39,400 --> 00:57:42,120
Speaker 4: to like defend it when it was out.

1032
00:57:42,960 --> 00:57:44,960
Speaker 5: Sorry, this is this is a dumb question, but my

1033
00:57:45,000 --> 00:57:46,560
Speaker 5: mind went there, what's.

1034
00:57:46,280 --> 00:57:47,800
Speaker 3: The sissy spasic movie?

1035
00:57:48,080 --> 00:57:51,840
Speaker 5: That's like a Terrence Malick movie and they're like wheat

1036
00:57:51,840 --> 00:57:53,160
Speaker 5: fields and stuff like that.

1037
00:57:53,800 --> 00:57:56,760
Speaker 4: I'm like the Unfortunately, when I think Sissy Space, I

1038
00:57:56,760 --> 00:57:58,240
Speaker 4: think Tuck ever Lasting.

1039
00:57:58,680 --> 00:58:01,800
Speaker 3: Wow, carry I I was like.

1040
00:58:02,080 --> 00:58:06,600
Speaker 4: And Carrie close behind, but first and foremost Tuk ever Lasting. Unfortunately.

1041
00:58:06,920 --> 00:58:08,080
Speaker 4: Wait what I like?

1042
00:58:08,160 --> 00:58:10,640
Speaker 3: Is it bad lambs or wasteless or whatever.

1043
00:58:10,840 --> 00:58:13,480
Speaker 2: I'm trying to look it up. Bad Lambs.

1044
00:58:14,800 --> 00:58:18,520
Speaker 5: To me, that's like, this isn't a clear examination and

1045
00:58:18,720 --> 00:58:23,320
Speaker 5: tutorial on white culture, so it's not good. Why isn't

1046
00:58:23,320 --> 00:58:26,120
Speaker 5: bad Lands telling me enough about the history of migration

1047
00:58:26,200 --> 00:58:27,640
Speaker 5: of white people in.

1048
00:58:28,000 --> 00:58:29,240
Speaker 3: Wherever the fuck that was?

1049
00:58:29,600 --> 00:58:32,400
Speaker 5: Why isn't that it's not doing its job because I

1050
00:58:32,440 --> 00:58:34,040
Speaker 5: don't know and it should be teaching me.

1051
00:58:34,280 --> 00:58:35,120
Speaker 3: That's crazy.

1052
00:58:35,680 --> 00:58:38,920
Speaker 4: It's so like shitty and didactic and it's also like,

1053
00:58:39,280 --> 00:58:41,520
Speaker 4: I don't know, it's like not like Julia dash isn't

1054
00:58:41,640 --> 00:58:44,480
Speaker 4: encouraging her audience to learn more about Gullah culture, but

1055
00:58:44,560 --> 00:58:49,840
Speaker 4: do it yourself, Like, yeah, Wikipedia dot org is a

1056
00:58:49,880 --> 00:58:51,320
Speaker 4: great place to start in.

1057
00:58:51,360 --> 00:58:53,440
Speaker 3: Nineteen ninety one.

1058
00:58:53,560 --> 00:58:58,160
Speaker 4: Go to the library. Yeah, actually, be like Robert Edgars

1059
00:58:58,440 --> 00:59:03,120
Speaker 4: go to the library one time. But anyways, Yeah, I'm

1060
00:59:03,200 --> 00:59:08,400
Speaker 4: very glad that she documented the production process so carefully,

1061
00:59:08,440 --> 00:59:12,240
Speaker 4: because it's, like whatever, a historic document in itself of

1062
00:59:12,480 --> 00:59:19,120
Speaker 4: just what fucking ignorant assholes the critics of the time were.

1063
00:59:20,640 --> 00:59:24,280
Speaker 2: And she shouldn't be expected to hold the audience's hand

1064
00:59:24,680 --> 00:59:26,600
Speaker 2: through the storytellings.

1065
00:59:26,640 --> 00:59:28,680
Speaker 4: It's not a documentary like and she did.

1066
00:59:28,720 --> 00:59:32,280
Speaker 5: You guys would be like, this is a boring film.

1067
00:59:32,400 --> 00:59:33,520
Speaker 2: You're teaching me too much.

1068
00:59:33,640 --> 00:59:34,400
Speaker 3: Yeah, exactly.

1069
00:59:34,520 --> 00:59:37,200
Speaker 5: So it's like just another example of how with some

1070
00:59:37,240 --> 00:59:39,200
Speaker 5: of the critics of the time, she could not win.

1071
00:59:39,600 --> 00:59:43,360
Speaker 2: Yeah, it's almost as if black women are held to

1072
00:59:43,640 --> 00:59:47,000
Speaker 2: a different standard than other people.

1073
00:59:47,040 --> 00:59:49,560
Speaker 3: Almost. Yeah, that's crazy, that's crazy.

1074
00:59:51,280 --> 00:59:54,640
Speaker 2: Should we talk about the story in the movie, the characters?

1075
00:59:55,040 --> 00:59:56,400
Speaker 3: Yeah, sure, he wants to.

1076
00:59:59,400 --> 01:00:03,400
Speaker 2: Like we said, the narrative is a slice of life

1077
01:00:03,600 --> 01:00:09,520
Speaker 2: story with characters reflecting on the past, pondering the future.

1078
01:00:10,040 --> 01:00:13,120
Speaker 2: They're sharing stories with each other, you know, passing down

1079
01:00:13,320 --> 01:00:19,000
Speaker 2: stories via oral tradition. We see characters seeking spiritual guidance

1080
01:00:19,040 --> 01:00:24,000
Speaker 2: from their ancestors. We see characters dealing with generational trauma.

1081
01:00:24,600 --> 01:00:30,280
Speaker 2: We also see intergenerational tension as far as cultural practices,

1082
01:00:30,440 --> 01:00:32,520
Speaker 2: religious practical religious tension.

1083
01:00:33,240 --> 01:00:38,800
Speaker 4: There's gender based tension. Like another thing I really appreciated

1084
01:00:38,880 --> 01:00:41,800
Speaker 4: that I feel like a lot of contemporary movies kind

1085
01:00:41,840 --> 01:00:46,120
Speaker 4: of fail to do is like this movie shows different

1086
01:00:46,120 --> 01:00:50,480
Speaker 4: women having different opinions on gender roles, which I think

1087
01:00:50,600 --> 01:00:53,440
Speaker 4: is like a big fourth wave feminist movie. Thing that

1088
01:00:53,560 --> 01:00:56,600
Speaker 4: kind of bugs me at this point is like and

1089
01:00:56,720 --> 01:01:00,240
Speaker 4: we're all women and we all agree that. ABC is like, yeah,

1090
01:01:00,240 --> 01:01:03,520
Speaker 4: well we're still people, and like we're like constantly in

1091
01:01:03,560 --> 01:01:07,400
Speaker 4: conflict about stuff like this. And so I liked even

1092
01:01:07,440 --> 01:01:12,440
Speaker 4: when it was like perspectives that were frustrating that it

1093
01:01:12,520 --> 01:01:16,520
Speaker 4: was like realistic that you know, of course, women, especially

1094
01:01:16,640 --> 01:01:18,800
Speaker 4: women that are living in different places, different generations, all

1095
01:01:18,840 --> 01:01:21,360
Speaker 4: this stuff, like are going to feel differently about that.

1096
01:01:22,360 --> 01:01:24,960
Speaker 3: I liked it. It's going to put that out.

1097
01:01:24,840 --> 01:01:28,840
Speaker 2: There, Yeah, no, it's it's really great. And we see

1098
01:01:28,840 --> 01:01:35,160
Speaker 2: this bearing out in different ways. Where women are talking, well,

1099
01:01:35,200 --> 01:01:39,920
Speaker 2: women are talking about men sometimes, but it'll be like Mary,

1100
01:01:40,040 --> 01:01:43,840
Speaker 2: for example, saying something along the lines of like she

1101
01:01:44,040 --> 01:01:48,440
Speaker 2: wants a man she can depend on but not be

1102
01:01:48,640 --> 01:01:49,480
Speaker 2: dependent on.

1103
01:01:50,200 --> 01:01:50,919
Speaker 3: Yeah.

1104
01:01:50,960 --> 01:01:53,680
Speaker 2: But otherwise, again, like the men are kind of an

1105
01:01:53,680 --> 01:01:55,680
Speaker 2: afterthought for the most part.

1106
01:01:56,280 --> 01:01:58,520
Speaker 4: They're kind of like on their little side quest on this.

1107
01:02:00,400 --> 01:02:03,320
Speaker 5: Yeah, like church, they had some robes on or something,

1108
01:02:03,520 --> 01:02:07,040
Speaker 5: people were baptizing people whatever, something that's not important.

1109
01:02:07,240 --> 01:02:07,439
Speaker 4: Yeah.

1110
01:02:07,760 --> 01:02:10,400
Speaker 2: And then again, the main man that we get to

1111
01:02:10,480 --> 01:02:16,280
Speaker 2: know is Eli. By way of this thing that happened

1112
01:02:16,280 --> 01:02:21,280
Speaker 2: where Yula was raped, she's also pregnant. They don't know

1113
01:02:21,560 --> 01:02:25,280
Speaker 2: if this pregnancy was a result of the rape or

1114
01:02:25,360 --> 01:02:27,960
Speaker 2: if her husband, Eli is the father of her baby.

1115
01:02:28,680 --> 01:02:35,280
Speaker 2: Because of this uncertainty, Eli is like frantic, He's horrify.

1116
01:02:35,360 --> 01:02:39,200
Speaker 4: He's he's hitting in the ground, he's breaking bottles in

1117
01:02:39,320 --> 01:02:44,360
Speaker 4: the tree with the bottles. He's acting, he's capital a acting. Yes,

1118
01:02:44,600 --> 01:02:47,080
Speaker 4: And I don't I mean correctly if I'm wrong. I

1119
01:02:47,080 --> 01:02:51,320
Speaker 4: don't think that the movie tells you what the reality

1120
01:02:51,400 --> 01:02:53,960
Speaker 4: ended up being because I don't think it matters.

1121
01:02:54,880 --> 01:02:56,800
Speaker 5: Yeah, I think it doesn't matter, but I think it

1122
01:02:56,880 --> 01:03:00,360
Speaker 5: was an intentional choice. Like the person who's playing the

1123
01:03:00,440 --> 01:03:03,960
Speaker 5: little girl whose voice we're hearing throughout the movie as

1124
01:03:04,000 --> 01:03:06,840
Speaker 5: the voiceover with the blue ribbon in her hair. That

1125
01:03:07,240 --> 01:03:15,040
Speaker 5: act is darker skinned than say Mary or that I

1126
01:03:15,040 --> 01:03:16,640
Speaker 5: don't remember the name of the woman she was with,

1127
01:03:16,760 --> 01:03:17,440
Speaker 5: but that chick.

1128
01:03:17,320 --> 01:03:17,800
Speaker 3: Was light.

1129
01:03:19,440 --> 01:03:21,960
Speaker 4: Yeah, true her maybe girlfriend?

1130
01:03:22,200 --> 01:03:24,920
Speaker 5: Yeah, maybe girlfriend. I thought for daughter for a second.

1131
01:03:24,920 --> 01:03:25,960
Speaker 5: I was like, I don't know what the citch is

1132
01:03:26,000 --> 01:03:28,120
Speaker 5: with this chick, but yes, the very light skinned girl.

1133
01:03:28,320 --> 01:03:33,640
Speaker 5: But the voiceover daughter was much darker. So I feel

1134
01:03:33,640 --> 01:03:36,520
Speaker 5: like in some ways it was trying to be like, hey, no,

1135
01:03:36,720 --> 01:03:40,400
Speaker 5: it's fine, it's theirs. Because also, this little voiceover baby,

1136
01:03:42,080 --> 01:03:45,880
Speaker 5: not the child's name, says stuff about my father, and

1137
01:03:45,920 --> 01:03:49,120
Speaker 5: she's talking about Eli. So I feel like, even if

1138
01:03:49,160 --> 01:03:53,720
Speaker 5: they never say directly like but no, it's he is

1139
01:03:53,760 --> 01:03:56,360
Speaker 5: the father and it's fine, they do in some ways

1140
01:03:56,400 --> 01:03:57,360
Speaker 5: try to comfort.

1141
01:03:57,040 --> 01:03:57,880
Speaker 3: People a little bit.

1142
01:03:58,200 --> 01:04:00,200
Speaker 4: That does make sense again, because you do get to

1143
01:04:00,480 --> 01:04:02,920
Speaker 4: you do see her. Yeah, I guess I was. I

1144
01:04:03,040 --> 01:04:06,040
Speaker 4: was like, my head canon was like, well, it doesn't

1145
01:04:06,080 --> 01:04:08,120
Speaker 4: matter if someone's your biological father.

1146
01:04:07,960 --> 01:04:10,600
Speaker 3: They're your father, true, and that's fact.

1147
01:04:10,800 --> 01:04:14,760
Speaker 5: Yeah, but I definitely, and I will say, given that

1148
01:04:14,840 --> 01:04:17,440
Speaker 5: my mom is much lighter skin than I am, and

1149
01:04:17,680 --> 01:04:20,440
Speaker 5: I am darker skin than some of my sisters. I

1150
01:04:20,520 --> 01:04:26,400
Speaker 5: think about color gradation quite a bit, so yeah, I'm

1151
01:04:26,400 --> 01:04:28,960
Speaker 5: like that kid's darker skin. That is probably not a

1152
01:04:29,000 --> 01:04:32,560
Speaker 5: mixed child, right, and that is not Hey, people come

1153
01:04:32,600 --> 01:04:35,000
Speaker 5: in all different colors and shades, and some make people

1154
01:04:35,040 --> 01:04:37,240
Speaker 5: look as lighter as dark as one.

1155
01:04:37,080 --> 01:04:40,720
Speaker 3: Parent or the other. So that is not a clear.

1156
01:04:40,640 --> 01:04:43,800
Speaker 5: Indication that is based in one hundred percent scientific fact.

1157
01:04:44,200 --> 01:04:47,200
Speaker 5: But I do think that there were choices made and

1158
01:04:47,320 --> 01:04:51,240
Speaker 5: that that does put the audience in air quotes at

1159
01:04:51,240 --> 01:04:51,960
Speaker 5: ease a little bit.

1160
01:04:52,480 --> 01:04:56,360
Speaker 4: Yeah, I mean, it's definitely we want her to be

1161
01:04:56,480 --> 01:05:00,600
Speaker 4: Eli's child, but yes, okay, yeah, make sense to me.

1162
01:05:00,760 --> 01:05:03,920
Speaker 3: But also we don't want sexual assault to happen at all, and.

1163
01:05:04,880 --> 01:05:09,040
Speaker 4: We want and we want Eli to understand that sexual

1164
01:05:09,080 --> 01:05:13,480
Speaker 4: assault isn't a mark on your on your spouse. Maybe yes,

1165
01:05:13,520 --> 01:05:20,120
Speaker 4: before you get married, but nineteen oh two.

1166
01:05:20,120 --> 01:05:23,560
Speaker 3: Questions nineteen o two. I also I really did like

1167
01:05:24,480 --> 01:05:27,280
Speaker 3: and I feel like other movies have shown this in

1168
01:05:27,320 --> 01:05:27,720
Speaker 3: the past.

1169
01:05:27,800 --> 01:05:31,400
Speaker 5: But the reason why she doesn't tell him is not

1170
01:05:31,760 --> 01:05:36,000
Speaker 5: because like, oh it will hurt that other person, or

1171
01:05:36,040 --> 01:05:40,480
Speaker 5: that she's necessarily afraid for herself, but she is cognizant

1172
01:05:40,520 --> 01:05:44,160
Speaker 5: of if she tells her husband who did this, then

1173
01:05:44,200 --> 01:05:46,960
Speaker 5: he will be putting himself at risk. Like I thought

1174
01:05:47,040 --> 01:05:50,720
Speaker 5: that was an interesting to have to be concerned about

1175
01:05:50,760 --> 01:05:52,000
Speaker 5: a having been assaulted.

1176
01:05:52,360 --> 01:05:53,840
Speaker 3: B what are you going to do with this baby?

1177
01:05:53,840 --> 01:05:56,600
Speaker 3: And like raising a baby. But see, you.

1178
01:05:56,520 --> 01:05:59,800
Speaker 5: Want to protect your husband so that if he flies

1179
01:05:59,800 --> 01:06:01,600
Speaker 5: off handle he doesn't go and get lynched.

1180
01:06:01,880 --> 01:06:03,120
Speaker 3: Yeah, that's a lot.

1181
01:06:03,240 --> 01:06:06,520
Speaker 5: And then they also bringing the anti lynching laws that

1182
01:06:06,640 --> 01:06:08,400
Speaker 5: some of the people are trying to get passed.

1183
01:06:08,760 --> 01:06:12,440
Speaker 3: I thought it was on the borders of the story, but.

1184
01:06:12,520 --> 01:06:16,440
Speaker 5: Not necessarily the impetus for the family drama that we

1185
01:06:16,440 --> 01:06:17,240
Speaker 5: were seeing.

1186
01:06:17,200 --> 01:06:19,360
Speaker 4: Right right, Because yeah, that that comes up at the

1187
01:06:19,560 --> 01:06:22,040
Speaker 4: at the end of the movie too, when when the

1188
01:06:22,160 --> 01:06:29,760
Speaker 4: unborn child is born. But there's one line I didn't

1189
01:06:29,800 --> 01:06:32,360
Speaker 4: I didn't write down which character said it, but it's

1190
01:06:32,400 --> 01:06:36,200
Speaker 4: when the assault is being discussed just very offhand, the

1191
01:06:36,320 --> 01:06:38,760
Speaker 4: raping of a colored woman is as common as a

1192
01:06:38,760 --> 01:06:44,120
Speaker 4: fish in the sea, and just that being said so frankly,

1193
01:06:44,240 --> 01:06:47,280
Speaker 4: and you know, it's just I don't know, I thought that, Yeah,

1194
01:06:47,280 --> 01:06:50,160
Speaker 4: the movie did a really good and intentional job of

1195
01:06:50,240 --> 01:06:54,760
Speaker 4: showing that, Like I don't know, for uh, like survivor

1196
01:06:54,800 --> 01:06:58,400
Speaker 4: of assault, and specifically a black survivor of assaults. The

1197
01:06:58,480 --> 01:07:01,480
Speaker 4: assault itself is kind of the tip of the iceberg

1198
01:07:01,560 --> 01:07:05,640
Speaker 4: in terms of the continued trauma that like she has

1199
01:07:05,680 --> 01:07:09,000
Speaker 4: to compartmentalize how she feels in order to protect her

1200
01:07:09,120 --> 01:07:13,840
Speaker 4: husband from experiencing violence and just all of the I

1201
01:07:13,840 --> 01:07:16,320
Speaker 4: don't know it just it makes me happy that at

1202
01:07:16,400 --> 01:07:19,160
Speaker 4: very least there is like a community of women to

1203
01:07:19,880 --> 01:07:20,360
Speaker 4: talk to.

1204
01:07:21,040 --> 01:07:25,560
Speaker 2: Yeah, and some characters understand that better than others. I

1205
01:07:25,640 --> 01:07:30,760
Speaker 2: really appreciated the scene where Nana is talking to Eli

1206
01:07:31,200 --> 01:07:34,800
Speaker 2: about this, where she says, because Eli is saying, like,

1207
01:07:35,360 --> 01:07:37,080
Speaker 2: I look at her and I'm not even sure I

1208
01:07:37,120 --> 01:07:40,360
Speaker 2: want her anymore. I feel like she's not even mine.

1209
01:07:40,920 --> 01:07:44,000
Speaker 2: And Nana responds with, you can't get back what you

1210
01:07:44,120 --> 01:07:48,120
Speaker 2: never owned. You will never belong to you. She married you,

1211
01:07:49,000 --> 01:07:53,280
Speaker 2: And it takes him a while for that to sink in.

1212
01:07:54,040 --> 01:07:57,160
Speaker 2: But yeah, I love that you have this what like

1213
01:07:57,400 --> 01:08:02,200
Speaker 2: ninety year old woman like in nineteen oh two saying

1214
01:08:02,280 --> 01:08:05,480
Speaker 2: things that a lot of people don't understand today in

1215
01:08:05,480 --> 01:08:09,560
Speaker 2: twenty twenty six, So that was great. And then you know,

1216
01:08:09,600 --> 01:08:14,080
Speaker 2: you have other like the camaraderie you see among different women,

1217
01:08:14,160 --> 01:08:16,639
Speaker 2: and then also the antagonism you see from other women,

1218
01:08:16,880 --> 01:08:20,800
Speaker 2: and it's pretty clear where the antagonism is coming from,

1219
01:08:21,080 --> 01:08:27,719
Speaker 2: the Christianity. But the solidarity that you see, for example,

1220
01:08:27,720 --> 01:08:33,160
Speaker 2: between Eula and Mary is really beautiful, and the fact

1221
01:08:33,160 --> 01:08:37,240
Speaker 2: that Eula stands up for Mary during that monologue at

1222
01:08:37,400 --> 01:08:42,360
Speaker 2: the end. And then yeah, like there are these beautiful

1223
01:08:42,360 --> 01:08:46,360
Speaker 2: moments of black joy that we see throughout the film,

1224
01:08:46,760 --> 01:08:49,280
Speaker 2: the playing that they're all doing, and the dancing around

1225
01:08:49,280 --> 01:08:52,200
Speaker 2: on the beach and ye, you know, preparing dinner.

1226
01:08:52,520 --> 01:08:55,200
Speaker 4: And yes, I was like, this is filed under movies

1227
01:08:55,240 --> 01:08:58,320
Speaker 4: that made me hungry?

1228
01:08:58,439 --> 01:08:59,400
Speaker 3: Do you like gumbo?

1229
01:09:00,160 --> 01:09:02,280
Speaker 4: I do like gumbo. I don't know that I've ever

1230
01:09:02,400 --> 01:09:05,599
Speaker 4: I haven't had good gumbo in a very long time,

1231
01:09:07,080 --> 01:09:08,679
Speaker 4: but yes, I do like gumbo.

1232
01:09:08,960 --> 01:09:11,639
Speaker 3: I grew up with gumbo. My mom still makes it.

1233
01:09:12,080 --> 01:09:13,800
Speaker 5: I'm gonna be honest, I don't really like it because

1234
01:09:13,800 --> 01:09:16,160
Speaker 5: I don't really like I don't like okra. I like

1235
01:09:16,240 --> 01:09:18,439
Speaker 5: the whole the whole thing is just like, hey, you

1236
01:09:18,479 --> 01:09:22,120
Speaker 5: want like snot but as a vegetable, And I'm like, no.

1237
01:09:22,080 --> 01:09:25,439
Speaker 4: I love I like it. I love when food is

1238
01:09:25,840 --> 01:09:30,320
Speaker 4: so dense. I love it.

1239
01:09:29,720 --> 01:09:33,000
Speaker 5: So like if they fry okra, I can eat it,

1240
01:09:33,120 --> 01:09:36,080
Speaker 5: but truly unless it's like trapped up into little pieces

1241
01:09:36,520 --> 01:09:39,320
Speaker 5: and then mostly the breading around it and then fried.

1242
01:09:39,720 --> 01:09:40,519
Speaker 3: Get it out of here.

1243
01:09:40,720 --> 01:09:45,439
Speaker 5: I how dare you like somehow they grew this pod

1244
01:09:45,640 --> 01:09:49,840
Speaker 5: of like goop and then it just tastes okay.

1245
01:09:49,680 --> 01:09:51,840
Speaker 3: Forget it. No, but they love it in this movie.

1246
01:09:51,920 --> 01:09:54,840
Speaker 4: They love it and it looks delicious.

1247
01:09:54,880 --> 01:09:55,599
Speaker 3: It looks so good.

1248
01:09:57,160 --> 01:10:00,000
Speaker 5: The corn bread was what got me. They had corn bread,

1249
01:10:00,120 --> 01:10:02,400
Speaker 5: and I was like, I love cornbread. In fact, should

1250
01:10:02,439 --> 01:10:03,639
Speaker 5: I go get some corn bread?

1251
01:10:03,800 --> 01:10:05,720
Speaker 4: I was like, this is a movie that you're like,

1252
01:10:06,240 --> 01:10:11,320
Speaker 4: maybe I need dinner at eleven am. Maybe that.

1253
01:10:13,360 --> 01:10:15,160
Speaker 2: What else do we want to talk about?

1254
01:10:15,560 --> 01:10:15,760
Speaker 3: Yeah?

1255
01:10:15,800 --> 01:10:19,519
Speaker 4: What are other standout characters? I mean, it is interesting

1256
01:10:19,520 --> 01:10:23,760
Speaker 4: because this movie is so beautiful and layered and a

1257
01:10:23,760 --> 01:10:27,680
Speaker 4: lot happens, and also not a lot happens. I don't know,

1258
01:10:27,800 --> 01:10:30,760
Speaker 4: I really I liked the structure a lot. I feel

1259
01:10:30,760 --> 01:10:32,880
Speaker 4: like it makes it a little trickier to talk about,

1260
01:10:33,439 --> 01:10:36,160
Speaker 4: but the structure being like, I don't know, just felt

1261
01:10:36,160 --> 01:10:41,200
Speaker 4: like this whole ceremony of remembrance. There's another moment that

1262
01:10:41,360 --> 01:10:44,599
Speaker 4: stuck out to me. I don't know at what point

1263
01:10:44,600 --> 01:10:46,920
Speaker 4: in the movie. Because this movie is so so vibes,

1264
01:10:47,760 --> 01:10:53,120
Speaker 4: but where they're talking specifically about why they're part of

1265
01:10:53,280 --> 01:10:55,200
Speaker 4: why they're doing what they're doing, what the function of

1266
01:10:55,280 --> 01:10:59,439
Speaker 4: storytelling is for their family and for their culture, and

1267
01:11:00,160 --> 01:11:02,639
Speaker 4: you know, obviously as a tool of remembrance. But Caitlyn,

1268
01:11:02,720 --> 01:11:06,599
Speaker 4: I think, like you mentioned earlier about how poorly their

1269
01:11:06,680 --> 01:11:12,000
Speaker 4: lives have been documented by their oppressors and specifically by

1270
01:11:12,040 --> 01:11:16,479
Speaker 4: slave owners, and the ways that they were documented and named,

1271
01:11:16,560 --> 01:11:19,760
Speaker 4: like it put you at physical risk to not know

1272
01:11:19,880 --> 01:11:23,400
Speaker 4: your own story very thoroughly. Yeah, I mean there was

1273
01:11:23,479 --> 01:11:26,360
Speaker 4: again just like a very offhand line of dialogue, but

1274
01:11:26,439 --> 01:11:28,639
Speaker 4: like you had to know who you were and where

1275
01:11:28,680 --> 01:11:31,559
Speaker 4: you came from so that you weren't you know, like

1276
01:11:31,680 --> 01:11:36,280
Speaker 4: to avoid incest, yes, to avoid incest, and because there's

1277
01:11:36,320 --> 01:11:40,200
Speaker 4: certainly no white slave owner who is going to be

1278
01:11:40,320 --> 01:11:43,800
Speaker 4: thinking about or caring about that. And it was just

1279
01:11:43,880 --> 01:11:46,080
Speaker 4: like again just like one of the many lines in

1280
01:11:46,120 --> 01:11:48,080
Speaker 4: this movie that you're just like, oh my.

1281
01:11:48,120 --> 01:11:50,240
Speaker 3: God, it's so fussed up.

1282
01:11:50,479 --> 01:11:54,160
Speaker 4: Yeah. Yeah, but like, I don't know, I liked that

1283
01:11:54,240 --> 01:11:56,599
Speaker 4: there was that so much of this is like based

1284
01:11:56,680 --> 01:11:59,519
Speaker 4: in I don't know, like whatever works on a number

1285
01:11:59,520 --> 01:12:04,200
Speaker 4: of levels because it's this fictional family preserving their history

1286
01:12:04,240 --> 01:12:06,880
Speaker 4: for each other. And also Julie Dash like trying to

1287
01:12:06,960 --> 01:12:10,960
Speaker 4: imagine what preserving her own family's history would be.

1288
01:12:11,160 --> 01:12:11,880
Speaker 2: It's just cool.

1289
01:12:13,080 --> 01:12:16,760
Speaker 5: I am frustrated that Julie Dash didn't get to go

1290
01:12:16,840 --> 01:12:19,439
Speaker 5: on and do more. When I was watching this, also,

1291
01:12:19,640 --> 01:12:22,599
Speaker 5: I thought of other things where people are in nature

1292
01:12:22,840 --> 01:12:24,240
Speaker 5: in like long dresses.

1293
01:12:24,400 --> 01:12:26,200
Speaker 3: I thought of, do you guys remember the piano?

1294
01:12:27,120 --> 01:12:29,880
Speaker 4: Oh? Yes, yes, Janine Campion.

1295
01:12:29,560 --> 01:12:32,720
Speaker 5: Campion, Yeah, yeah, And I thought about that and I

1296
01:12:32,800 --> 01:12:35,680
Speaker 5: was like, man, I think I really like stories of

1297
01:12:35,880 --> 01:12:38,599
Speaker 5: women in long dresses by the beach.

1298
01:12:38,880 --> 01:12:41,960
Speaker 4: I think that's like portrait of a lady on fire anyway. Yeah,

1299
01:12:43,640 --> 01:12:45,880
Speaker 4: and there is the same, yeah, like to be in

1300
01:12:45,920 --> 01:12:51,600
Speaker 4: a flowy dress and to be recalling yearning, monologuing yearning.

1301
01:12:51,320 --> 01:12:54,719
Speaker 5: In a flowy dress with the wind of the ocean

1302
01:12:54,880 --> 01:12:58,479
Speaker 5: and the beach and a river sometimes but still, yeah,

1303
01:12:58,520 --> 01:13:01,400
Speaker 5: that shit's cool as hell. And when I was a kid,

1304
01:13:01,439 --> 01:13:04,000
Speaker 5: I read Sarah Plane and Tall. Do you guys remember that?

1305
01:13:04,200 --> 01:13:08,200
Speaker 4: Oh my gosh, yes, Well I don't remember what happened.

1306
01:13:08,280 --> 01:13:09,920
Speaker 3: Ye haven't even thinking about Sarah Plane and Tall?

1307
01:13:10,080 --> 01:13:10,799
Speaker 4: No, I haven't.

1308
01:13:11,479 --> 01:13:14,080
Speaker 5: I am a short person and when I was a kid,

1309
01:13:14,080 --> 01:13:15,280
Speaker 5: I didn't know I was gonna be sh I mean,

1310
01:13:15,280 --> 01:13:17,719
Speaker 5: I had some suspicion, but I am a short person,

1311
01:13:17,760 --> 01:13:20,280
Speaker 5: so I don't get to be tall. But I loved

1312
01:13:20,320 --> 01:13:22,960
Speaker 5: that this character, Sarah plane and tall. She had on

1313
01:13:23,000 --> 01:13:25,240
Speaker 5: a long dress. It was down to her ankles, and

1314
01:13:25,280 --> 01:13:27,519
Speaker 5: she went around and she did stuff and I think

1315
01:13:27,560 --> 01:13:30,040
Speaker 5: there was wheat and there was hey whatever. And I

1316
01:13:30,080 --> 01:13:31,800
Speaker 5: was like, I think that's what I'm gonna be like

1317
01:13:31,840 --> 01:13:33,720
Speaker 5: when I'm old. I think I'm gonna be in like

1318
01:13:33,800 --> 01:13:36,280
Speaker 5: a long dress and the wind is gonna catch it

1319
01:13:36,600 --> 01:13:38,880
Speaker 5: and I'm gonna be dramatically.

1320
01:13:38,240 --> 01:13:40,960
Speaker 3: Looking over vistas. That's all I want.

1321
01:13:41,160 --> 01:13:44,360
Speaker 5: And this movie has that, and so I'm like, yep,

1322
01:13:44,720 --> 01:13:45,360
Speaker 5: let's do it.

1323
01:13:45,560 --> 01:13:49,439
Speaker 2: Hell yeah, I am so excited for you to do that.

1324
01:13:49,800 --> 01:13:51,400
Speaker 3: Be part of my elder commune. You know.

1325
01:13:51,920 --> 01:13:55,000
Speaker 4: God, we're gonna grow her hair out to our butts. Like,

1326
01:13:55,040 --> 01:13:58,280
Speaker 4: it's gonna be awesome. It's gonna be awesome.

1327
01:13:58,520 --> 01:14:01,519
Speaker 5: I look all kinds of ways, we're gonna wear all

1328
01:14:01,560 --> 01:14:04,240
Speaker 5: kinds of cool stuff. We're gonna plant stuff, We're gonna

1329
01:14:04,240 --> 01:14:06,400
Speaker 5: build stuff. My commune is gonna be sick as he.

1330
01:14:06,920 --> 01:14:10,160
Speaker 4: I'll be there, We're in, We're in. There is nothing

1331
01:14:10,160 --> 01:14:12,320
Speaker 4: scarier to me than a commune run by a man,

1332
01:14:12,360 --> 01:14:15,600
Speaker 4: and nothing more welcoming and thrilling to me than a

1333
01:14:15,800 --> 01:14:17,160
Speaker 4: commune not run by a man.

1334
01:14:17,280 --> 01:14:22,160
Speaker 2: Oh oh, And going back to things run by women, Yes,

1335
01:14:22,360 --> 01:14:25,600
Speaker 2: at least in the context of this movie, the focus

1336
01:14:25,640 --> 01:14:31,599
Speaker 2: on the matriarch and the women in the family. Again, men,

1337
01:14:31,960 --> 01:14:35,320
Speaker 2: we don't know them, they're barely there. The character of

1338
01:14:35,400 --> 01:14:40,320
Speaker 2: Nana is so mesmerizing, Like anytime she spoke, you know,

1339
01:14:40,360 --> 01:14:45,360
Speaker 2: she's got this gravelly voice, she like commands this intense

1340
01:14:45,520 --> 01:14:48,360
Speaker 2: presence and you're just like I could watch her for days,

1341
01:14:48,400 --> 01:14:49,920
Speaker 2: Like it's She's awesome.

1342
01:14:50,160 --> 01:14:54,759
Speaker 4: The performances are unbelievable, and there was like a really

1343
01:14:56,280 --> 01:15:00,160
Speaker 4: how Julie Dash made the production work was like was

1344
01:15:00,200 --> 01:15:05,439
Speaker 4: a mix of union and non union crew members. The

1345
01:15:05,560 --> 01:15:10,559
Speaker 4: non union crew members had Goula ancestry, and so it

1346
01:15:10,600 --> 01:15:14,040
Speaker 4: was like partially a way to you know, teach filmmaking

1347
01:15:14,439 --> 01:15:17,200
Speaker 4: to members of the Gala community that didn't know about

1348
01:15:17,200 --> 01:15:20,000
Speaker 4: filmmaking as much, but also was a way to ensure

1349
01:15:20,640 --> 01:15:24,320
Speaker 4: that she was being historically accurate and to help the

1350
01:15:24,360 --> 01:15:30,920
Speaker 4: actors because the actors were actors and had to you know, had.

1351
01:15:30,840 --> 01:15:35,360
Speaker 2: To learn the dial the dialog language.

1352
01:15:34,120 --> 01:15:38,800
Speaker 4: Yeah, which I'm assuming they did a good job. Like

1353
01:15:38,840 --> 01:15:41,479
Speaker 4: I'm in the last person who could make that call.

1354
01:15:42,000 --> 01:15:44,479
Speaker 4: But I wanted to just sort of close out, going

1355
01:15:44,520 --> 01:15:46,120
Speaker 4: back to what you were saying, Knese, But like, how

1356
01:15:46,400 --> 01:15:49,599
Speaker 4: infuriating it is that Julie Dash hasn't made She's made again,

1357
01:15:49,640 --> 01:15:51,880
Speaker 4: like she's made other things, but she hasn't made something

1358
01:15:51,920 --> 01:15:56,680
Speaker 4: on this scale. This like, oh touristic, since this is

1359
01:15:56,720 --> 01:16:01,000
Speaker 4: the last thing I'll pull from that piece. Sisters are

1360
01:16:01,040 --> 01:16:03,360
Speaker 4: doing it for themselves, the contextual labor of black women.

1361
01:16:04,160 --> 01:16:06,559
Speaker 4: She closes out by saying, there is an additional reason

1362
01:16:06,720 --> 01:16:08,840
Speaker 4: why Daughters of the Dust has taken thirty years to

1363
01:16:08,880 --> 01:16:12,160
Speaker 4: be recognized fully and properly. As is clear from the

1364
01:16:12,160 --> 01:16:15,439
Speaker 4: site and sound poll, outour cinema dominates the film canon,

1365
01:16:15,640 --> 01:16:19,320
Speaker 4: and outourism has historically privileged text over context in its

1366
01:16:19,400 --> 01:16:23,800
Speaker 4: processes of evaluation. The outside weight to awarded to text

1367
01:16:23,840 --> 01:16:28,400
Speaker 4: relative to context especially impacts filmmakers from marginalized communities, such

1368
01:16:28,400 --> 01:16:31,760
Speaker 4: as black women, who tend to face greater structural obstacles

1369
01:16:31,840 --> 01:16:34,720
Speaker 4: in getting films made and thus have smaller bodies of

1370
01:16:34,800 --> 01:16:37,720
Speaker 4: work to their name. This disadvantages them in the a

1371
01:16:37,800 --> 01:16:42,439
Speaker 4: tourist discourse and consequently in gaining wide and sustained critical attention.

1372
01:16:43,040 --> 01:16:46,200
Speaker 4: Julie Dash is a case in point. Thirty years after

1373
01:16:46,280 --> 01:16:48,000
Speaker 4: Daughters of the Dust, she has not been able to

1374
01:16:48,160 --> 01:16:51,760
Speaker 4: obtain financing for a second feature film. While shocking, her

1375
01:16:51,800 --> 01:16:55,280
Speaker 4: story is not exceptional. Two other black women filmmakers who

1376
01:16:55,400 --> 01:16:59,040
Speaker 4: like Dash, made remarkable feature debuts that same decade, Colleen

1377
01:16:59,120 --> 01:17:01,840
Speaker 4: Smith with dry La Longs and Leslie Harris with Just

1378
01:17:01,880 --> 01:17:05,200
Speaker 4: Another Girl on the Irt likewise failed to find funding

1379
01:17:05,240 --> 01:17:08,240
Speaker 4: for their second features. Both of their first films are

1380
01:17:08,400 --> 01:17:13,680
Speaker 4: only now belatedly garnering significant critical visibility and praise, So

1381
01:17:14,360 --> 01:17:16,760
Speaker 4: closing that loop out, I mean, it is like, it

1382
01:17:16,800 --> 01:17:22,519
Speaker 4: is truly criminal that there are so many directors who

1383
01:17:22,560 --> 01:17:28,400
Speaker 4: are denied opportunities to make more work, particularly because I mean,

1384
01:17:28,479 --> 01:17:32,000
Speaker 4: like Julie Dash, luckily she is like alive, well in working,

1385
01:17:32,040 --> 01:17:35,599
Speaker 4: but she's seventy three, and to think of how much

1386
01:17:35,720 --> 01:17:39,120
Speaker 4: incredible work she could have done if she did not

1387
01:17:39,320 --> 01:17:42,200
Speaker 4: have to fight tooth and nail to make literally anything,

1388
01:17:42,360 --> 01:17:46,599
Speaker 4: is just like it's infuriating and we should never stop

1389
01:17:46,720 --> 01:17:47,719
Speaker 4: yelling about it.

1390
01:17:48,320 --> 01:17:50,320
Speaker 5: I just this is so silly, and it's not a

1391
01:17:50,320 --> 01:17:52,400
Speaker 5: direct comp because who I'm talking about as an actor.

1392
01:17:52,720 --> 01:17:57,040
Speaker 5: But it infuriates me that Jared Litto has like eighty

1393
01:17:57,160 --> 01:17:59,599
Speaker 5: Bites at the Apple even though all of his movies

1394
01:17:59,640 --> 01:18:01,160
Speaker 5: have fail in the last.

1395
01:18:00,920 --> 01:18:03,120
Speaker 3: Like ten years, right right, and it.

1396
01:18:03,080 --> 01:18:04,960
Speaker 5: Is about to be in something again. It's like a

1397
01:18:05,040 --> 01:18:08,160
Speaker 5: multi like one hundred million dollar plus thing. And I'm

1398
01:18:08,200 --> 01:18:10,639
Speaker 5: just like, Okay, we need like the what you give

1399
01:18:10,680 --> 01:18:12,880
Speaker 5: to Jared Leto. I'm not saying we give it to everybody,

1400
01:18:12,960 --> 01:18:15,120
Speaker 5: but you've got to give some of that to more

1401
01:18:15,200 --> 01:18:18,639
Speaker 5: people because you're just letting this guy keep being mediocre

1402
01:18:18,760 --> 01:18:22,200
Speaker 5: as hell, and let's give this let's spread this wealth.

1403
01:18:21,960 --> 01:18:22,439
Speaker 3: A little bit.

1404
01:18:22,680 --> 01:18:24,559
Speaker 4: Yeah. I mean, it's like and going into like that

1405
01:18:25,040 --> 01:18:28,680
Speaker 4: whatever like oh tour discourse, it's you think about, like

1406
01:18:28,760 --> 01:18:33,360
Speaker 4: how many white male o tours, including the ones I like,

1407
01:18:33,360 --> 01:18:38,879
Speaker 4: like whose movies never make money, Like Paul Thomas Anderson's

1408
01:18:38,920 --> 01:18:44,280
Speaker 4: movies rarely make money, but they're specific and significant, and

1409
01:18:44,360 --> 01:18:47,040
Speaker 4: so he gets to keep making them because he's a

1410
01:18:47,040 --> 01:18:51,120
Speaker 4: why guy and like, oh tour movies, they're not known

1411
01:18:51,200 --> 01:18:53,519
Speaker 4: for making money, so you like. But but it, of

1412
01:18:53,560 --> 01:18:56,719
Speaker 4: course it always becomes a game of well, we couldn't

1413
01:18:56,720 --> 01:19:00,679
Speaker 4: get the financing when it's a marginalized artist or it's

1414
01:19:00,760 --> 01:19:04,840
Speaker 4: someone who's you know, second movie wasn't completely perfect and

1415
01:19:04,880 --> 01:19:08,360
Speaker 4: didn't make a shitload of money because marginalized directors have

1416
01:19:08,880 --> 01:19:12,320
Speaker 4: so much more that you're supposed to prove to say, like,

1417
01:19:12,400 --> 01:19:15,160
Speaker 4: it wasn't just it didn't just break even, it made

1418
01:19:15,200 --> 01:19:18,519
Speaker 4: its budget back forty times or you don't get another shot.

1419
01:19:18,600 --> 01:19:21,840
Speaker 4: And meanwhile, you know Jared Lettle, Yeah, so, I.

1420
01:19:21,800 --> 01:19:25,800
Speaker 5: Mean, just think about the headline after Sinners, where people

1421
01:19:25,800 --> 01:19:28,520
Speaker 5: were like, but it didn't make its money back versus

1422
01:19:28,560 --> 01:19:31,200
Speaker 5: first of all did Blania was the one of the

1423
01:19:31,280 --> 01:19:35,600
Speaker 5: highest grossing documentaries for this weekend in February.

1424
01:19:35,600 --> 01:19:36,759
Speaker 3: You're like, wait, what.

1425
01:19:37,800 --> 01:19:42,200
Speaker 4: It's so like whatever, the Master didn't make its money back,

1426
01:19:42,600 --> 01:19:45,080
Speaker 4: But no one in the history of the world has

1427
01:19:45,120 --> 01:19:46,760
Speaker 4: ever fucking complained about that.

1428
01:19:47,600 --> 01:19:50,120
Speaker 5: I mean, I've complained about The Master several times, but

1429
01:19:50,200 --> 01:19:52,600
Speaker 5: not because of that, but not because of the other reasons.

1430
01:19:52,840 --> 01:19:55,040
Speaker 4: I've never seen The Master good.

1431
01:19:56,240 --> 01:19:57,720
Speaker 2: Yeah, I did not like it at all.

1432
01:19:57,840 --> 01:19:59,280
Speaker 5: I didn't like it either, and they were like, this

1433
01:19:59,439 --> 01:20:02,360
Speaker 5: is what thing is about, and I was like, then

1434
01:20:02,439 --> 01:20:03,840
Speaker 5: do I like acting.

1435
01:20:04,640 --> 01:20:07,280
Speaker 4: Like if Paul Thomas edited and again this is like

1436
01:20:07,520 --> 01:20:11,120
Speaker 4: I'm randomly picking him out, But like, you know, Phantom

1437
01:20:11,120 --> 01:20:13,880
Speaker 4: Thread one of my favorite movies. But if you know,

1438
01:20:13,920 --> 01:20:17,160
Speaker 4: if he was a woman, if he was not white,

1439
01:20:17,520 --> 01:20:20,400
Speaker 4: you know, if he was not cis like, this would

1440
01:20:20,439 --> 01:20:23,360
Speaker 4: be such a different discussion. Like the Master not performing

1441
01:20:23,479 --> 01:20:27,080
Speaker 4: success like well could have ended his career. I mean,

1442
01:20:27,120 --> 01:20:28,920
Speaker 4: and it's like, I don't know. And the fact that

1443
01:20:28,960 --> 01:20:32,000
Speaker 4: Julie Dash, I mean, she talked extensively about how her

1444
01:20:32,040 --> 01:20:36,080
Speaker 4: movie did extremely well at sun Dance. It won Best Cinematography,

1445
01:20:36,160 --> 01:20:39,000
Speaker 4: like all this stuff. It was very critically successful, but

1446
01:20:39,120 --> 01:20:42,320
Speaker 4: it still took a full year to get it in theaters.

1447
01:20:42,760 --> 01:20:45,760
Speaker 4: So it was like a full year after it, you know,

1448
01:20:45,920 --> 01:20:50,200
Speaker 4: first debuted that it became the first movie by a

1449
01:20:50,240 --> 01:20:53,519
Speaker 4: black American woman to be widely distributed. It just is

1450
01:20:53,560 --> 01:20:57,560
Speaker 4: like it's it just is exhausting. It sounds exhausting.

1451
01:20:58,160 --> 01:20:59,880
Speaker 5: Is part of the reason you like Phantom Thread so

1452
01:21:00,120 --> 01:21:02,559
Speaker 5: much because it is about a woman poisoning a man.

1453
01:21:02,840 --> 01:21:06,280
Speaker 4: Of course, of course that's why I like it. For

1454
01:21:06,320 --> 01:21:08,640
Speaker 4: the first hour and a half of Fandom Thread, I'm like, well,

1455
01:21:08,680 --> 01:21:10,320
Speaker 4: I don't know about this, But then at the end,

1456
01:21:10,360 --> 01:21:12,840
Speaker 4: I was like, oh, she's gonna kill Yeah. They have

1457
01:21:12,880 --> 01:21:16,240
Speaker 4: a freaky little relationship where she's kind of killing him. Yeah,

1458
01:21:16,880 --> 01:21:19,960
Speaker 4: we should cover I think Phantom Thread. It will be

1459
01:21:20,040 --> 01:21:22,599
Speaker 4: like a New Year's movie one one year.

1460
01:21:22,720 --> 01:21:26,040
Speaker 2: Oh, that's right, because there's a New Year's Eve party.

1461
01:21:26,120 --> 01:21:27,960
Speaker 4: It's one of the few New Year's there's not a

1462
01:21:27,960 --> 01:21:30,519
Speaker 4: lot of New Year's movies, but I counted as one

1463
01:21:30,560 --> 01:21:30,880
Speaker 4: of them.

1464
01:21:31,200 --> 01:21:35,680
Speaker 2: No, you're so true. But yeah, Julie Dash she was

1465
01:21:35,720 --> 01:21:38,719
Speaker 2: only able to make this movie because she finally got

1466
01:21:38,760 --> 01:21:42,240
Speaker 2: funding after being rejected by a bunch of Hollywood executives.

1467
01:21:42,640 --> 01:21:49,960
Speaker 2: She got funding from PBS to the tune of rip, Yeah,

1468
01:21:50,000 --> 01:21:53,479
Speaker 2: she received eight hundred thousand dollars. That was the budget

1469
01:21:53,520 --> 01:21:54,280
Speaker 2: for this movie.

1470
01:21:54,360 --> 01:21:56,879
Speaker 4: That's wild. Yeah, that is wild.

1471
01:21:57,760 --> 01:22:02,240
Speaker 2: And it made back. It's It earned one point six

1472
01:22:02,240 --> 01:22:04,960
Speaker 2: million dollars at the box office on the so it doubled.

1473
01:22:04,680 --> 01:22:07,479
Speaker 4: Its budget, doubled its Yeah. So it's like, so, what's

1474
01:22:07,560 --> 01:22:10,760
Speaker 4: the problem. So, what's the problem?

1475
01:22:11,040 --> 01:22:13,600
Speaker 2: Anything else that anyone wants to talk about?

1476
01:22:14,640 --> 01:22:18,360
Speaker 5: Go see this movie, and if you do, probably don't

1477
01:22:18,400 --> 01:22:20,200
Speaker 5: give your money to Amazon the way I did.

1478
01:22:20,240 --> 01:22:21,000
Speaker 4: You're better than me.

1479
01:22:22,320 --> 01:22:26,200
Speaker 5: Use Canopy because your city likes that Canopy is not

1480
01:22:26,240 --> 01:22:27,840
Speaker 5: in Brooklyn, is in Queen's But I don't have a

1481
01:22:27,920 --> 01:22:31,439
Speaker 5: Queen's Library card. But yeah, get it, but get it

1482
01:22:31,439 --> 01:22:32,400
Speaker 5: from like a nice place.

1483
01:22:32,920 --> 01:22:34,519
Speaker 4: Hell yeah.

1484
01:22:34,640 --> 01:22:36,679
Speaker 2: As we alluded to, the movie does not have any

1485
01:22:36,760 --> 01:22:40,360
Speaker 2: issues as far as Bechdel test in the sense that

1486
01:22:40,439 --> 01:22:45,120
Speaker 2: it passes it a lot between a lot of different characters,

1487
01:22:46,120 --> 01:22:48,600
Speaker 2: and then as far as our nipple scale, where we

1488
01:22:48,680 --> 01:22:52,040
Speaker 2: rate the movie based on examining it through an intersectional

1489
01:22:52,080 --> 01:22:58,080
Speaker 2: feminist lens zero to five nipples. I mean, I don't

1490
01:22:58,160 --> 01:23:01,679
Speaker 2: see any reason not to award it a full five.

1491
01:23:02,479 --> 01:23:05,240
Speaker 4: I feel like this is a this is a five nipple.

1492
01:23:05,320 --> 01:23:08,599
Speaker 4: I mean, oh wow, yeah, what what's the argument against that?

1493
01:23:09,840 --> 01:23:15,200
Speaker 3: Brow to say four? Sa More like the thing is

1494
01:23:15,320 --> 01:23:17,400
Speaker 3: is good and we all know it's good, but it's good.

1495
01:23:17,960 --> 01:23:21,320
Speaker 5: There's like, okay, imagine eating a cake, but one bite

1496
01:23:21,400 --> 01:23:26,320
Speaker 5: tastes like homework like that like that, but there was

1497
01:23:26,360 --> 01:23:26,760
Speaker 5: that one.

1498
01:23:26,680 --> 01:23:30,599
Speaker 3: Bite they tasted like homework. So I mean, if I had.

1499
01:23:30,439 --> 01:23:33,200
Speaker 2: To dock it for anything for me, it would be

1500
01:23:33,720 --> 01:23:38,120
Speaker 2: I wish we would have known more about Trula and

1501
01:23:38,160 --> 01:23:41,200
Speaker 2: the nature of her relationship with Mary, because I was

1502
01:23:41,240 --> 01:23:43,880
Speaker 2: reading different things that like people were speculating that they

1503
01:23:43,880 --> 01:23:48,200
Speaker 2: were lovers, and like that's part of why the like

1504
01:23:48,320 --> 01:23:54,040
Speaker 2: hyper Christian family members were expressing so much disdain toward Mary,

1505
01:23:54,080 --> 01:23:56,439
Speaker 2: and I was like, why, Like she bare like Trula

1506
01:23:56,920 --> 01:23:58,840
Speaker 2: says almost nothing, we barely.

1507
01:23:59,040 --> 01:24:00,559
Speaker 3: I mean, yeah, it was like that she has a line.

1508
01:24:00,960 --> 01:24:03,960
Speaker 2: She has I think one line at one point, but

1509
01:24:04,479 --> 01:24:06,120
Speaker 2: what is it? I don't even remember.

1510
01:24:06,360 --> 01:24:09,080
Speaker 4: Yeah, you see her a lot. Where is the where

1511
01:24:09,120 --> 01:24:11,599
Speaker 4: is the fanfic? Where is the fan pic? Can someone

1512
01:24:11,640 --> 01:24:14,360
Speaker 4: get on this? I'm assuming someone did thirty years ago.

1513
01:24:15,680 --> 01:24:18,200
Speaker 2: Sure. But then I was like, Okay, well, maybe the

1514
01:24:18,240 --> 01:24:21,960
Speaker 2: reason that we don't really learn anything about her really

1515
01:24:22,080 --> 01:24:25,600
Speaker 2: is because this story is mostly told from either the

1516
01:24:25,640 --> 01:24:29,920
Speaker 2: point of view of Nana or the unborn child. So

1517
01:24:29,960 --> 01:24:33,200
Speaker 2: I'm like, well, they probably wouldn't really know what's going

1518
01:24:33,240 --> 01:24:36,000
Speaker 2: on with so maybe that's why. But even so, I

1519
01:24:36,000 --> 01:24:38,680
Speaker 2: would have liked to because if that is a queer relationship,

1520
01:24:38,840 --> 01:24:42,320
Speaker 2: I would have liked to see that explored a bit more.

1521
01:24:42,439 --> 01:24:44,960
Speaker 5: I mean, does she stay on the island? She something happens,

1522
01:24:45,040 --> 01:24:47,479
Speaker 5: like they're doing that little prayer circle or whatever, and

1523
01:24:47,520 --> 01:24:50,400
Speaker 5: then the light skinned lady runs off into the woods

1524
01:24:50,479 --> 01:24:50,880
Speaker 5: or something.

1525
01:24:51,000 --> 01:24:52,719
Speaker 3: So I was like, where's she goes?

1526
01:24:52,760 --> 01:24:53,320
Speaker 4: Where she goes?

1527
01:24:53,360 --> 01:24:56,320
Speaker 2: Yeah? I don't know. Anyway, I think I'll still stick

1528
01:24:56,360 --> 01:25:00,960
Speaker 2: with five nipples because this is such an important entry

1529
01:25:01,080 --> 01:25:05,080
Speaker 2: into the cannon of black filmmakers in general, and especially

1530
01:25:05,080 --> 01:25:10,599
Speaker 2: black women filmmakers. So five nipples from me and uh

1531
01:25:11,000 --> 01:25:15,679
Speaker 2: all split them between Julie Dash and Cory Day, who

1532
01:25:15,720 --> 01:25:16,599
Speaker 2: played Nana.

1533
01:25:16,760 --> 01:25:17,840
Speaker 3: She's got a great face.

1534
01:25:18,080 --> 01:25:19,440
Speaker 4: Oh I love that.

1535
01:25:19,439 --> 01:25:20,160
Speaker 3: That's a great face.

1536
01:25:20,840 --> 01:25:25,360
Speaker 4: And she's like she's acting without acting, if that makes sense.

1537
01:25:25,439 --> 01:25:30,120
Speaker 4: Like it's just there's an effortlessness to what she's doing. Yeah,

1538
01:25:30,400 --> 01:25:32,760
Speaker 4: I'm gonna go I'm gonna go five as well. I really,

1539
01:25:32,960 --> 01:25:36,840
Speaker 4: I've I've really, I don't know what's my taste has

1540
01:25:36,960 --> 01:25:37,760
Speaker 4: changed I used to.

1541
01:25:38,200 --> 01:25:38,559
Speaker 2: I don't know.

1542
01:25:38,720 --> 01:25:41,599
Speaker 4: I'm really into a movie that is just like doing

1543
01:25:41,600 --> 01:25:44,240
Speaker 4: its own thing and is very vibes based, and I

1544
01:25:44,280 --> 01:25:46,599
Speaker 4: would include this movie in that word. It is not

1545
01:25:46,640 --> 01:25:51,600
Speaker 4: adhering to a specific structure. I've found myself like surprised

1546
01:25:51,600 --> 01:25:54,720
Speaker 4: at the choices that Julie Dash was making, and I

1547
01:25:54,880 --> 01:25:59,880
Speaker 4: just it's so specific and beautiful and cool. And I

1548
01:26:00,479 --> 01:26:02,360
Speaker 4: at some point was like, I don't know a single

1549
01:26:02,360 --> 01:26:04,679
Speaker 4: thing about any of the men in this movie, really,

1550
01:26:05,720 --> 01:26:08,479
Speaker 4: And so for the Bacle cast, I have no choice

1551
01:26:08,479 --> 01:26:11,200
Speaker 4: but to give a five. And yeah, I'm going to

1552
01:26:11,400 --> 01:26:14,960
Speaker 4: I'm going to give all of them to Julie Dash

1553
01:26:15,000 --> 01:26:19,760
Speaker 4: and hope that we get to see another movie from

1554
01:26:19,760 --> 01:26:25,599
Speaker 4: her soon. The last big project that she discussed, wait

1555
01:26:25,880 --> 01:26:29,680
Speaker 4: Hold On It, came up in the late twenty or.

1556
01:26:29,880 --> 01:26:32,959
Speaker 4: At the twenty nineteen Sundance Film Festival, it was announced

1557
01:26:32,960 --> 01:26:35,479
Speaker 4: that Dash's next major project will be a biopic of

1558
01:26:35,520 --> 01:26:39,240
Speaker 4: Angela Davis, to be produced by lions Gate. I have

1559
01:26:39,280 --> 01:26:42,200
Speaker 4: not seen an update on that recently, but she takes

1560
01:26:42,200 --> 01:26:45,639
Speaker 4: her time making her movies, so I'm like looking forward

1561
01:26:45,680 --> 01:26:45,920
Speaker 4: to it.

1562
01:26:46,680 --> 01:26:49,479
Speaker 2: All right, And then can you are you sticking with four?

1563
01:26:50,080 --> 01:26:52,840
Speaker 5: I'm sticking with four nipples on the nipple scale. I

1564
01:26:52,880 --> 01:26:54,560
Speaker 5: want to give two to Julie Dash.

1565
01:26:54,800 --> 01:26:57,559
Speaker 3: I want to give one to the location, because damn,

1566
01:26:57,600 --> 01:26:58,880
Speaker 3: that was beautiful. I'm sorry I.

1567
01:26:59,280 --> 01:27:02,920
Speaker 6: Made beautiful where I'm from, but I'm like the views

1568
01:27:02,920 --> 01:27:05,320
Speaker 6: of the water, the views on the beach, the views

1569
01:27:05,400 --> 01:27:09,759
Speaker 6: in the trees, them in those gorgeous dresses laying against

1570
01:27:09,760 --> 01:27:10,480
Speaker 6: a tree.

1571
01:27:10,600 --> 01:27:13,320
Speaker 5: I was just mesmerized. And I one hundred percent see

1572
01:27:13,800 --> 01:27:17,840
Speaker 5: why Beyonce saw that. Probably Beyonce's designers, Let's be real,

1573
01:27:17,920 --> 01:27:20,200
Speaker 5: but saw that and was like, oh, I want to

1574
01:27:20,280 --> 01:27:23,640
Speaker 5: use this as part of the basis for my lemonade.

1575
01:27:23,680 --> 01:27:27,200
Speaker 3: Aesthetics. So that and then the last one too. Did

1576
01:27:27,200 --> 01:27:28,680
Speaker 3: you say this, Coral Li day like.

1577
01:27:28,720 --> 01:27:30,240
Speaker 2: The old woman CORALI day.

1578
01:27:30,400 --> 01:27:32,360
Speaker 5: Yeah, I'm like, I want to be an old woman

1579
01:27:32,400 --> 01:27:36,280
Speaker 5: in a long dress so bad. I would love that.

1580
01:27:36,680 --> 01:27:39,599
Speaker 5: And she was cool as hell and she had short hair.

1581
01:27:39,640 --> 01:27:42,080
Speaker 5: I love it when old like as an old lady,

1582
01:27:42,160 --> 01:27:44,559
Speaker 5: you don't have to have long hair. It's like, hey,

1583
01:27:44,760 --> 01:27:47,679
Speaker 5: I'm old, it's cut short. I get to live my life,

1584
01:27:47,760 --> 01:27:49,360
Speaker 5: leave me alone, and I love that.

1585
01:27:49,520 --> 01:27:53,880
Speaker 2: Hell yeah, thank you so much for joining us for

1586
01:27:53,960 --> 01:27:55,160
Speaker 2: an eighth time.

1587
01:27:55,120 --> 01:27:57,920
Speaker 4: Eighth times the charm baby dude.

1588
01:27:58,200 --> 01:28:00,800
Speaker 5: Thank you guys so much for continuing to have me,

1589
01:28:01,280 --> 01:28:04,639
Speaker 5: for talking about movies that I love that influence who

1590
01:28:04,680 --> 01:28:07,360
Speaker 5: I am now, who I want to be artistically, and

1591
01:28:07,400 --> 01:28:10,280
Speaker 5: who I will be as I age in this country.

1592
01:28:11,360 --> 01:28:13,760
Speaker 5: I love you guys, and I think you guys are

1593
01:28:13,800 --> 01:28:17,559
Speaker 5: the Besneys, and I'm excited when I get a chance

1594
01:28:17,560 --> 01:28:18,559
Speaker 5: to be on the Bechdel Cast.

1595
01:28:19,160 --> 01:28:24,040
Speaker 4: We love ours. Can't wait for time number nine. Throw

1596
01:28:24,200 --> 01:28:26,400
Speaker 4: throw us a curveball, let's go, let's go nuts.

1597
01:28:27,560 --> 01:28:28,840
Speaker 3: It's jackass three D.

1598
01:28:31,400 --> 01:28:35,840
Speaker 4: Honestly, that would be a very interesting episode. So be

1599
01:28:35,920 --> 01:28:37,200
Speaker 4: careful what you say.

1600
01:28:37,160 --> 01:28:39,639
Speaker 3: Because I'll do it, I'll do it. I'm here.

1601
01:28:40,000 --> 01:28:43,880
Speaker 2: Tell yeah, where can people follow you? Cut your stuff,

1602
01:28:43,960 --> 01:28:45,879
Speaker 2: cutch your shows, tell us everything.

1603
01:28:45,960 --> 01:28:49,800
Speaker 5: Okay, so I'm Canise Mowbley. There isn't another one, so

1604
01:28:50,120 --> 01:28:52,400
Speaker 5: it's me. It's hey n I C E m O

1605
01:28:52,439 --> 01:28:55,439
Speaker 5: B l E y on Instagram mainly, but technically I

1606
01:28:55,479 --> 01:28:59,360
Speaker 5: have I think, a TikTok, threads and I have all

1607
01:28:59,360 --> 01:29:01,880
Speaker 5: those things. But I only really use Instagram because of

1608
01:29:01,920 --> 01:29:07,080
Speaker 5: fascism and limiting my exposure to it. I am also

1609
01:29:07,439 --> 01:29:10,720
Speaker 5: doing the Hot Guy Draft, which is an event that

1610
01:29:10,800 --> 01:29:13,519
Speaker 5: is near and dear to my heart, wherein comedians formed

1611
01:29:13,600 --> 01:29:16,719
Speaker 5: teams of hot guys in the audience votes to say

1612
01:29:16,920 --> 01:29:19,519
Speaker 5: who has the hottest team. We did one in the

1613
01:29:19,520 --> 01:29:22,360
Speaker 5: fall that was just general theme. This one is on

1614
01:29:22,400 --> 01:29:25,679
Speaker 5: March twenty second at Littlefield in Brooklyn, New York. It

1615
01:29:25,760 --> 01:29:29,840
Speaker 5: is themed Daddy, so you can get more information on

1616
01:29:30,080 --> 01:29:32,200
Speaker 5: what is a daddy, who is a daddy, and why

1617
01:29:32,280 --> 01:29:35,840
Speaker 5: is a daddy by following Hot Guy Draft on Instagram

1618
01:29:35,880 --> 01:29:39,639
Speaker 5: and taking the survey rating hot guys, which is jinder

1619
01:29:39,720 --> 01:29:44,719
Speaker 5: neutral in a competition to see who is the most daddy.

1620
01:29:45,320 --> 01:29:48,439
Speaker 4: That is just like this poetry music to my ears.

1621
01:29:48,479 --> 01:29:51,519
Speaker 4: I was literally was like, I'm speechless. I wish, I

1622
01:29:51,560 --> 01:29:53,559
Speaker 4: wish I could go one day.

1623
01:29:53,600 --> 01:29:55,400
Speaker 5: You will be in town, you will be a panelist,

1624
01:29:55,479 --> 01:29:58,840
Speaker 5: you will be one of our contestants. But regardless, you

1625
01:29:58,960 --> 01:30:03,439
Speaker 5: can vote because this is like a fantasy draft, because

1626
01:30:03,520 --> 01:30:04,960
Speaker 5: this is what I care about more than I care

1627
01:30:04,960 --> 01:30:09,000
Speaker 5: about sports, and we need stats in order to draft

1628
01:30:09,120 --> 01:30:12,000
Speaker 5: with knowledge. And we get those stats by people voting

1629
01:30:12,360 --> 01:30:15,120
Speaker 5: on who is hot, who is not? Who is daddy?

1630
01:30:15,160 --> 01:30:16,200
Speaker 5: Who is not daddy?

1631
01:30:16,479 --> 01:30:16,719
Speaker 2: Wow?

1632
01:30:16,720 --> 01:30:17,320
Speaker 4: Incredible?

1633
01:30:17,479 --> 01:30:19,200
Speaker 2: Yeah, when is it?

1634
01:30:19,240 --> 01:30:22,720
Speaker 5: March twenty March twenty second, okay, May seven pm? That

1635
01:30:22,840 --> 01:30:24,760
Speaker 5: is a Sunday at seven. I pushed for it to

1636
01:30:24,760 --> 01:30:26,880
Speaker 5: be earlier because I am a millennial and I like

1637
01:30:26,920 --> 01:30:28,840
Speaker 5: things at two in the afternoon, but they said seven

1638
01:30:28,920 --> 01:30:30,280
Speaker 5: was the earliest they could do it.

1639
01:30:31,320 --> 01:30:33,200
Speaker 2: Maybe I'll make a trip to New York.

1640
01:30:33,560 --> 01:30:37,200
Speaker 5: Dude, come to this I want to do. I'm working

1641
01:30:37,240 --> 01:30:39,080
Speaker 5: on another one, and this one I will be like,

1642
01:30:39,160 --> 01:30:40,840
Speaker 5: figure it out, get your ass over here.

1643
01:30:41,439 --> 01:30:43,799
Speaker 3: It's first Crush is.

1644
01:30:43,680 --> 01:30:45,400
Speaker 5: The theme for the one that I'm hoping to do

1645
01:30:45,479 --> 01:30:47,400
Speaker 5: in like July or August.

1646
01:30:47,760 --> 01:30:51,559
Speaker 3: So first Crush hot, guys, think about it. But yeah,

1647
01:30:51,920 --> 01:30:53,280
Speaker 3: this is a developing thing.

1648
01:30:53,760 --> 01:30:57,000
Speaker 2: Love it perfect Well, thank you so much for joining us.

1649
01:30:57,240 --> 01:31:02,639
Speaker 2: You're always welcome back anytime. You can follow us on

1650
01:31:03,040 --> 01:31:06,720
Speaker 2: also mainly Instagram at Bechdel Cast, as well as subscribe

1651
01:31:06,760 --> 01:31:10,760
Speaker 2: to our Matreon at patreon dot com slash Bechdel Cast,

1652
01:31:10,800 --> 01:31:15,679
Speaker 2: where you can access two brand new episodes every single month,

1653
01:31:15,760 --> 01:31:20,240
Speaker 2: always on an incredible, amazing genius theme the Jamie and

1654
01:31:20,280 --> 01:31:22,519
Speaker 2: I Think up, as well as access to the entire

1655
01:31:22,560 --> 01:31:28,320
Speaker 2: back catalog of nearing two hundred bonus episodes, So don't

1656
01:31:28,320 --> 01:31:31,719
Speaker 2: miss out. That's all for five dollars a month. Wow,

1657
01:31:32,000 --> 01:31:36,400
Speaker 2: what a good bargain. And with that, should we hang

1658
01:31:36,439 --> 01:31:41,200
Speaker 2: out on the beach and make gumbo? And yeah, but

1659
01:31:41,280 --> 01:31:43,679
Speaker 2: not with too much okra? Canis?

1660
01:31:43,840 --> 01:31:45,160
Speaker 4: Yeah? Hold the okra?

1661
01:31:45,360 --> 01:31:48,400
Speaker 3: Yes, thank you so much. I would love that. I'll

1662
01:31:48,439 --> 01:31:51,599
Speaker 3: see you on the beach. Okay, bye bye bye.

1663
01:31:55,000 --> 01:31:58,360
Speaker 4: The Bechdel Cast is a production of iHeartMedia, hosted and

1664
01:31:58,439 --> 01:32:01,799
Speaker 4: produced by Me Jamie Lock and me Kitlyn Durrante.

1665
01:32:02,160 --> 01:32:05,480
Speaker 2: The podcast is also produced by Sophie Lichtermann.

1666
01:32:05,280 --> 01:32:08,000
Speaker 4: And edited by Caitlyn Durrante. Ever heard of them?

1667
01:32:08,479 --> 01:32:11,920
Speaker 2: That's me? And our logo and merch and all of

1668
01:32:11,960 --> 01:32:15,680
Speaker 2: our artwork in fact are designed by Jamie loftus ever

1669
01:32:15,720 --> 01:32:16,160
Speaker 2: heard of her?

1670
01:32:16,360 --> 01:32:19,360
Speaker 4: Oh My God, and our theme song, by the way,

1671
01:32:19,520 --> 01:32:20,519
Speaker 4: was composed by Mike.

1672
01:32:20,400 --> 01:32:24,280
Speaker 2: Kaplan with vocals by Katherine Voskrasinski.

1673
01:32:23,800 --> 01:32:26,639
Speaker 4: Iconic and a special thanks to the one and only

1674
01:32:26,960 --> 01:32:28,280
Speaker 4: Aristotle Acevedo.

1675
01:32:28,800 --> 01:32:32,599
Speaker 2: For more information about the podcast, please visit Linktree Slash

1676
01:32:32,600 --> 01:32:33,439
Speaker 2: spectel Cast