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BlackStar Film Festival: Exploring the Power of BIPOC Voices in Cinema
What is Blackstarr Film Festival
What is the Blackstar Film Festival one may ask and how is it different than it’s more widely known counterparts (i.e. Sundance, Cannes, and Toronto film festivals)? Blackstar sets itself apart by focusing on curating both feature-length and short films directed and produced by primarily BIPOC creators. Held annually in Philadelphia, the festival draws a diverse audience comprised of donors, producers, directors, and more who come together to both watch films and participate in discussions surrounding the greatest issues faced by the BIPOC community within both the domestic and international context. The festival is a space created in which the power of film and storytelling work in concert to challenge commonly held beliefs and behaviors that have and continue to contribute to the suppression of marginalized voices and to the proliferation of racism, sexism, toxic masculinity, neo-colonialism, and sexual and gender based violence.
What themes do the films and panels address?
Over 4 days, some common themes that emerged were SGBV, Climate Change (intersecting with race and gender), toxic & transformative masculinity, and gender equity. While gender equity stood out as its own theme, it is important to note that gender crosscut every single theme of films and panel discussions that I attended. It became clear that the film industry is focused on the intersection of gender with almost every thematic area not unlike the focus of donors within the field of international development.
SGBV:
Films and Panels addressed how rape and GBV within the context of conflict and post-conflict is still prevalent in the developing world. Additionally, films highlighted the reality of gay cis and cis-het women being targeted for rape as a “corrective measure,” a belief and behavior rooted in the religious ideology and male assertion over female sexuality. One film in particular showcased how strong women leaders face threats of violence and rape simply for loudly advocating for equal rights. It also brilliantly captured how not only women endure sexual violence (often gov’t sanctioned) but that men also bear the scars of sexual based violence often as a tool to subjugate or punish them for their opposition and protest. Panels discussed the need to be equitable in sharing such stories of both women and men as male rape is often not held in such horrific regard as female rape. While difficult to hear, it was clear that the much of the audience resonated with these stories and it sparked a dialogue on prevention methods and how to bring more men (both survivors and non-survivors) into the conversation in an effort to reshape attitudes and behaviors that contribute to SGBV.
Climate Change
With climate changer perhaps being the biggest issue of our time, it came as no surprised that there were quite a few films that featured stories on the effects of climate change. It is worth noting that content focusing on climate often intersected with agriculture. Storylines included structural and cultural barriers to female and BIPOC farmers losing access to fertile land due to both climate and lack of access, to gov’t subsidies to implement sustainable farming practices. It’s not just inherently discriminatory policies that contribute to this disparity but also the simple lack of awareness of available resources to marginalized farmers. It is evident that there is great need for awareness raising, advocacy, and mobilization of resources to increase the number of BIPOC farmers but also the use of sustainable farming practices that can mitigate risks created by climate change while subsequently increasing the generational wealth and rates of land ownership by BIPOC individuals. Films were also thought provoking and prompted audiences to ponder their own agency in stabilizing climate. Whether by making more informed reproductive choices, make more environmental-friendly choices, or by gaining more knowledge and expertise to leverage in designing more environmentally friendly practices.
Toxic and Transformative Masculinity
An aspect of the festival that I perhaps enjoyed the most were films and panels that challenged what it meant to be “manly” or “masculine.” Films also cleverly depicted how long held beliefs held on “manhood” are also held by women who also can perpetuate harmful attitudes and behaviors via shaming young men and boys for not exhibiting what is regarded as proper “masculine.” Behavior. One film had a storyline in which two siblings (one male & one female) found joy and some degree of economic prosperity by respectively choosing career paths that were not in alignment with their gender. Oddly enough, it was the mother who discouraged their career choices based on her own traditional beliefs of masculinity and femininity while the father was shown to be fairly indifferent or at least not In strong opposition This juxtaposition made a strong case for abandoning such strict ideas of gender-roles and how it could lead to more gender equity in labor WHILE increasing economic prosperity for both men and women. Panel discussions also stressed the importance of modeling healthy behaviors through film and television for young men and boys. But not only modeling behavior that shows them how to treat women and girls with respect but also each other.
Lesson Learned on using film for change
While films are not in a serial format and are not long-running, they can still be impactful as many of the films shown at Blackstar serve as a catalyst for bringing difficult topics into the public discourse. With film (especially within the context of a festival) there is a built-in focus group comprised of the audience members and if engaged correctly, can really provide valuable insights into if the content was topical, culturally relevant/accurate, and if there is a desire for more similar content. It’s also useful to note that within this festival setting there are other creators, funders, and other contributors hungry for emotionally resonant content. They want to be a part of/contribute to a progressive movement through film and events like Blackstar serve as a smorgasbord of creativity and opportunity to satiate that hunger.
Perhaps one of the biggest takeaways from attending the festival is that there is TONS of grassroots support at the domestic and international level. There is no shortage of stories to tell and funders, directors, writers, are looking for ways to tell these stories while maintaining cultural relevance and authenticity. While other forms of media (i.e. radio, television) are impactful, I’ve seen how film can command a viewers undivided attention. With minimal external distraction in a theater setting, film is effectively able to leverage sound, visuals, and narrative to immerse the viewer in the story in a way that film, tv, and print media cannot. People are completely captivated for 60-90 minutes and actively watching and listening as limited distraction reduces passive listening that tends to occur while consuming media in the comfort of their own home.
Opportunity for PMC
Given that PMC specializes in serialized dramas, the thought of producing film content may seem counterintuitive. However, I see film as supplement or an opportunity to readapt existing PMC products. If aligned with the right creators and donors, PMC could very well adapt its current catalog of radio, television, and theater productions into short films. Most if not all our thematic areas align with those of the filmmakers and other creators. As such, it would be a fairly feasible transition into the development or readaptation of our content to align with the values of the donors/filmmakers in this space. However, I did notice that donors in the film space tend to fund individual filmmakers or film-oriented organizations. Not to mention that our annual revenue exceeds many of the income restrictions listed in the eligibility criteria. It is also not lost on me that many of PMC donors would not view filmmaking as eligible cost. For these reasons, I know it would be tricky for PMC to pursue traditional funding streams to fund any potential work in the independent film space.
While traditional funding avenues may pose challenges, especially given PMC’s revenue and existing donor expectations, the key lies in collaboration. By matching funds with partner filmmakers, we can create film adaptations of our existing content and tap into alternative revenue streams. These could include:
- Releasing content on streaming platforms (i.e. indieflix)
- Educational Distribution
- Submit for Film Festivals (attract the attention of mid-sized & large donors)
- Selling or leasing the film rights to a studio (now I’m not entirely sure if this is feasible due to our 501(3)© status)
This venture into filmmaking, though challenging, is far from impossible. With PMC’s expertise in content creation, audience engagement, and a network of influential stakeholders, the organization is well-positioned to make a significant impact in the film industry. This move would not only broaden PMC’s reach but also open new doors for funding and collaboration, further advancing our mission to create meaningful, socially impactful content.
