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America + Hale County This Morning, This Evening

Sun, Oct 13, 2019
  • 2PM
RUN TIME: 106min
MEMBERS: $8 (free for Level 4 and above)
+  Post-screening conversation with RaMell Ross and Garrett Bradley
October 2019
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Sunday October 13, 2019
Performances no longer available.

Post-screening conversation with RaMell Ross and
Garrett Bradley


Dir. Garrett Bradley
With Donna Crump, Edward Spots
2019, 30min, DCP


Taking as its starting point the recently rediscovered Bert Williams feature Lime Kiln Club Field Day (1913)—the first known film to feature an all-Black cast—Garrett Bradley’s extraordinary new short imagines an entire lost lineage of African-American cinema, where images of Black joy, strength, and beauty live on forever in a free-floating celluloid dream space. Shot in gorgeously poetic black and white and set to an intricately layered audio collage, America is an ecstatic sensory experience that rewrites our visual history in the name of Black empowerment.

An Aubin Pictures production. Produced by Lauren Domino and Catherine Gund.

Hale County This Morning, This Evening

Dir. RaMell Ross
2018, 76min


The remarkable, Oscar-nominated debut from RaMell Ross is at once an intimate and cosmic, poignant and profound vision of African-American life in the heart of Alabama’s Black Belt. Writ in an impressionist wash of striking, sensorily-rich images (along with archival footage from Bert Wililams’ 1913 feature Lime Kiln Club Field Day), it’s as much a portrait of two young men—one a student, the other a father supporting a growing family—as it is an immersion in the community and landscape that surround them. With a poet’s eye for capturing the quietly meaningful, in-between moments of everyday life—at home, at church, on the basketball court—Ross invites an entirely new way of seeing the world.

Garrett Bradley
Garrett Bradley

Garrett Bradley’s multimedia work draws together broad themes of oppression and conflict with a particular emphasis on place and location. Across a body of moving-image productions that blend elements of documentary and fiction, cinema and video art, Bradley’s camera situates wider themes in the minute textures of the everyday, exploring her subjects’ struggles and dreams and rooting the sociopolitical in personal and physical experience. Bradley consistently locates her subjects in particular places—frequently her home city of New Orleans—that become sites of a confrontation between personal narratives and larger historical and political ones.

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