‘BLKNWS: Terms & Conditions’ Review: Khalil Joseph’s Rich, Impressionistic Docu-Fiction Essay Reimagines the World

by

In the revamped “BLKNWS: Terms & Conditions” shown at the Sundance Film Festival following a disagreement over its editing, director Khalil Joseph presents a dramatically altered perspective of the world through a Black point of view, while simultaneously contemplating the challenges that come with such an approach. This movie is a dynamic blend of documentary and fiction, challenging traditional categorization. The story partially takes place on a futuristic, multi-faceted ship sailing across the Atlantic, inhabited by a journalist (Shaunette Renée Wilson) and an arts scholar (Keneza Schaal, portraying a fictionalized character based on real curator Funmilayo Akechukwu). However, this narrative structure serves as a foundation for a more abstract, mystical storyline that delves into personal and political past.

The movie was collectively created by various artists and scholars, and it delves into two main themes: Joseph’s personal turbulent family background, depicted through photo collages and stories narrated solely through subtitles, without the use of voiceovers, and the life and impact of W.E.B. Du Bois, a renowned sociologist and Pan-African activist. The film draws heavily from Du Bois’ “Encyclopedia Africana”, with clips from the 20th century interspersed throughout, based on people, locations, artworks, and other ideas found in the encyclopedia. Each clip is even accompanied by a corresponding citation; the movie is both scholarly and detailed as it reveals the intersection of history and contemporary issues.

One of the cornerstones in this work is techno music, a genre with Black roots that are frequently overlooked, yet Joseph skillfully employs it to great impact. He transforms the beats of early Detroit techno artists (such as Juan Atkins) into rhythmic guides for his abstract editing, mirroring the rhythm’s natural ebb and flow, much like a well-orchestrated album. This musical backbone quickly establishes the setting in “BLKNWS” with numerous historical and cultural references: “Marcus Garvey! Whitney Houston! Haiti! Reparations!” and more. In his adaptation of his 2018 two-screen art installation, Joseph digs deep into history, presenting a fictional Black news network as a window to the world. This approach (with a sprinkle of contemporary Black Twitter memes) is also seen in the extended version, which includes fictional tales about the fall of the British monarchy, an institution that colonized much of Africa until the 20th century.

The movie employs a humorous narrative as a basis for delving into decolonial concepts and representations. This encompasses the fictional spacecraft, which are reminiscent of the Black Star Line ocean liners’ descendants, symbolizing Marcus Garvey’s Back-to-Africa political movement. Additionally, it touches upon modern struggles to free African nations from neocolonial control. The rapid references might need focused viewing to catch them all, but its captivating narrative can also be immersive enough that you might choose to simply relax and enjoy the ride.

Previously, one of Joseph’s dual-screen presentations has been adapted for single-screen display. He also produced the “good kid, m.A.A.d city” short film alongside rapper Kendrick Lamar, a music video venture that vividly portrays contemporary Black existence in an abstract manner. It seems to echo elements of Afrofuturism, with influences traceable in “BLKNWS” too (this time with a broader Pan-Africanist perspective), particularly when the movie takes a more contemplative turn. This Terrence Malick inspiration is evident throughout, especially noticeable during the film’s introspective moments.

The movie endeavors to recreate a world where Black experiences are the dominant perspective, yet the haunting music by Paul Goodwin seems to mourn the restrictions of this reinterpretation. This melancholic tone is juxtaposed with stunning visuals of our solar system and sunlight reflecting off Earth and other planets, reminiscent of Terrence Malick’s “The Tree of Life.

As a movie critic, I found myself reflecting on the noticeable absence of prominent female liberationists from the “Encyclopedia Africana,” a glaring oversight in the film’s most impactful source material, which unfortunately reflects on its own narrative as well. The voices of other scholars shed light on the concept of a shared cultural language constructed upon displacement.

The attempt to counteract whiteness with Blackness as a universal cultural and psychological lingua franca cannot heal the deep-rooted wounds that shaped modern Blackness initially, a concern that transcends geographical boundaries, casting even the most exhilarating expressions of liberation and self-expression in a somber light. It seems that the film’s creator may be intentionally creating a paradox – a tension that fuels the most striking aesthetic conflicts as the film navigates its various modes and influences.

In my exploration aboard the futuristic vessel, I delve into my subconscious and the painful heritage of my forebears, just as other characters do. Interestingly, I craft multiple depictions of Du Bois, one of whom is portrayed by Schaal, reflecting on my life’s endeavors (and Garvey’s impact) much like how I ponder through a series of montages. Although it might appear overt for a political film to equate itself with influential political figures, “BLKNWS” skillfully employs other Black films and media from this era and the past (specifically, Garrett Bradley’s documentary “Time” and works by Arthur Jafa). This way, “BLKNWS” acknowledges its role in a continuous, multi-decade dialogue on art simply by being present within it.

BLKNWS: Terms & Conditions weaves together academic discussions, viral videos, and museum debates, capturing a broad range of perspectives and ideas. The result is a series of daring montages that are both thought-provoking and deeply moving. With the playful use of audio and visual techniques reminiscent of late Jean-Luc Godard’s work, and incorporating the metatextual elements from his 1987 postmodern “King Lear,” this is Joseph’s first feature film. It offers a stunning reflection within a reflection, brimming with rhythm and vitality – it’s as intellectually stimulating as it is emotionally engaging.

Read More

2025-01-27 21:17