When They See Us (2019)

Ava Duvernay's signature style of gut-punch filmmaking puts the viewer in the shoes of Kevin Richardson, Antron McCray, Yusef Salaam, Korey Wise and Raymond Santana, the five young boys who were coerced to make false confessions by the NYPD under duress, skewered by the mainstream press, wrongfully imprisoned, dehumanized and finally vindicated in 2002 after 13 long years. The story of the Central Park Five is infuriating, and though the press, police and prosecutor are specifically blamed, everyone is at fault. Blinded by institutional racism and contempt for poor black and brown kids, the white public (and specifically Elizabeth Lederer and Linda Fairstein) condemns the five kids, deluding itself into believing an obvious fabrication.  What is extraordinary about Duvernay's miniseries is that she manages to still display the incredible strength and resilience of the oppressed, not just the boys in prison and their families outside. Further still, she portrays the cruel and punitive criminal justice system at every stage, from the corrupt police, to the baiting press, to the biased courts, to the atrocious prisons, to probation, and the institutional obstacles to life on the outside as a convicted felon. Jharrel Jerome as both kid and young adult Korey is a standout, but the acting is phenomenal from the entire ensemble cast. It's emotional, devastating and absolutely required viewing.

13th (2016)

This much needed documentary is very well done. It is a documentary for our contentious times. Ava Duvernay's direction is evident in the beautifully shot talking head interviews. They are sometimes in the traditional rule of thirds, and sometimes dead in the center staring straight down the camera. And they are accompanied by well-made, non-cheesy graphics.  She speaks to some of the most eminent scholars and activists to tell the story of African Americans. One of the scholars she features is Michelle Alexander and rightly so, because the film is essentially a film version of  her seminal work: "The New Jim Crow." I read that book in my sophomore year and it completely enlightened my outlook on race in America. What Duvernay adds to the conversation is the last six years of history, of damning evidence. Alexander's book was published in 2010. And to put it plainly, a lot has happened since then. 

Selma (2014)

Ava Duvernay's paints a vivid picture of the 1965 voting rights marches in Selma, Alabama.  She does not shirk away from violence or hatred, beginning the film with an unexpected, very graphic "BANG!"  The audience sees and hears the billy club wielding policemen brutally beating and teargassing nonviolent protesters.  There is a great shot that follows Oprah's character Annie Lee Cooper head on falling backwards to the concrete.  But amid all the violence there is hope.  This film is a testament to the idea that people of all backgrounds can come together to bring about change in society.  This message is especially important in our society today, when we are reminded of the protests in Ferguson or in Hong Kong.

It is important to be reminded that these are real people being portrayed on screen.  The characters, even supporting characters, are all actual historical figures.  A lot of research was done for this film. For the unknowing viewer, the epilogue credits give proof that the people depicted are real, some still living today.  We also see black-and-white historical footage of the march to Montgomery with the hordes of people crossing the bridge.

One interesting fact about the screenplay is that all of the speeches made by Oyelowo as King are made up.  The filmmaker did not have permission to use the text from his actual speeches. Interestingly though, the speeches in the film actually sound like things King might have said.  The cadence, the content, and even the figurative language are all reminiscent of King's words.  Oyelowo does an excellent job as King, portraying him in public and private life.  The FBI was always suspicious of King, and constantly kept him under surveillance.  We are subtly reminded of this at the end of each scene with typewriter text appearing on the screen recording the FBI's logs.  This stylistic choice of Duvernay keeps the FBI ominously lurking in the background as they actually did.

And finally, I love "Glory," the song at the end credits by Common and John Legend. Its message, rhythm and chorus resonate with the audience for an uplifting ending