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Some of the most exciting documentaries are the ones where the “documentary” label doesn’t do the work justice. Khalik Allah’s work exists within such energizing, unclassifiable terrain. By the time his “Black Mother” surfaced at New Directors/New Films in 2018, Allah had already established his bonafides: In two shorts and a pair of concise features, he has emerged as a genuine auteur, among the best directors documenting Black faces in contemporary cinema. Nevertheless, it takes under four hours to consume almost his entire body of work, save for a new feature that premiered on the festival circuit earlier this year; with the rest of his oeuvre on the Criterion Channel, now’s the ideal time to get caught up.
As both cinematographer and director,...
Some of the most exciting documentaries are the ones where the “documentary” label doesn’t do the work justice. Khalik Allah’s work exists within such energizing, unclassifiable terrain. By the time his “Black Mother” surfaced at New Directors/New Films in 2018, Allah had already established his bonafides: In two shorts and a pair of concise features, he has emerged as a genuine auteur, among the best directors documenting Black faces in contemporary cinema. Nevertheless, it takes under four hours to consume almost his entire body of work, save for a new feature that premiered on the festival circuit earlier this year; with the rest of his oeuvre on the Criterion Channel, now’s the ideal time to get caught up.
As both cinematographer and director,...
- 6/18/2020
- by Eric Kohn
- Thompson on Hollywood
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