Larping as history and album covers

Rating: 10/10 (30 March 2019)

The blaxploitation romance with their perms and fashion showcases identity discovery. They own the blackness and in the post-MLK era dress like superheroes from films, a means of being 'larger than life' to showcase pride and overcompensate the painful reality. The cinema comes twice. Once this concept of Stallworth on the phone to David Duke so the outward contrasts his ice cold pained eyes to multitude shades of effect, playing out continual vignettes. and two, Adam Driver is the film's conscience with every time his looks mean two things, or he counters his hatred inside for them by projecting forceful racial hate, which I see as pointing to projection as the source of such beliefs. The dual of inside vs outside is one of the most riveting 'double' concepts in film as it brings about several dueling perspectives, which is why we go to the theater. One complained of the half-assed climactic set piece but I think Spike Lee is tired of it all. How can you complain when it begins with 'dis base on sum true shizz'? He is saying these morons don't warrant much serious thought at all, only to laugh at; then re-contextualizes its laxness as tired wisdom with the Charlottesville, VA footage at the end portraying it all deadly serious: the cycles of history are on the verge of repeating and the same stories would go on. 'We didn't want them to be here.' Both sides said the same thing.