Kahlil Joseph's debut feature film, 'black odyssey,' transcends the boundaries of a conventional narrative, evolving from his 2019 art installation of the same name. The film delves into the complexities of Black identity and history through a tapestry of multimedia, weaving together videos, music, memes, photos, dialogue, and artwork. Inspired by scholars, filmmakers, and contemporary cultural trends, 'black odyssey' offers a dynamic and multifaceted exploration of Black experience.
The debut feature film from artist and filmmaker Kahlil Joseph, titled 'black odyssey,' is not a direct expansion of his 2019 art installation of the same name. Joseph tells us that the film, which follows a journalist (Shaunette Renée Wilson) reporting on a prestigious Transatlantic Biennale showcasing Black artists, is a natural evolution of the installation's themes.
The story centers on Sarah (Wilson), a journalist desperate to connect with Funmilayo Akachukwu (Kaneza Schaal), the curator of the fictional art showcase aboard the luxurious cruise ship 'The Nautica.' The narrative, defying easy synopsis, spans roughly three centuries, drawing inspiration from scholars like Saidiya Hartman, Christina Sharpe, and Dionne Brand, alongside filmmakers like Jean-Luc Godard, Arthur Jafa, and Julie Dash. Joseph identifies two key figures as artistic inspirations — scholar W.E.B. DuBois, whose lifelong pursuit of publishing an encyclopedia on Black culture, history, and diaspora before his death in 1963, and his late brother, Noah Davis, a visual artist and co-founder of the Underground Museum in Los Angeles. 'black odyssey' presents a multifaceted representation of Black voices through videos, music, memes, photos, dialogue, and artwork, coalescing into an anthology of Black culture and history. Joseph, who edited the film alongside Luke Lynch and Paul Rogers, sees parallels between music video directing and filmmaking, stating, 'The best music videos function like cinema.' Joseph elaborates on the film's genesis, stating that the installation was meant to be dynamic and evolving. The world's social and cultural shifts mirrored the film's themes, making it a potent and timely endeavor. He views 'black odyssey' as an expansion rather than a direct adaptation, akin to a new chapter in an ongoing narrative. The film carries the spirit of DuBois' ambition to document and share a comprehensive history of Black lives, culture, and diaspora. While DuBois' envisioned encyclopedia serves as an emotional touchstone, the film remixes and deconstructs traditional archival methods, presenting history as fluid and alive rather than static or neatly categorized. Joseph acknowledges the film's richness, encouraging multiple viewings to fully appreciate its nuances. He highlights key influences, including Jean-Luc Godard, Malik Sayeed, Sun Ra, Judith Butler, Ousmane Sembène, Fred Moten, Kodwo Eshun, Hartman, and contemporary Black Twitter discourse, emphasizing the interconnectedness of these influences within the film's ecosystem.The writing process spanned six months, while the production itself took two to three years. Joseph cherishes the experience of filming in Ghana during the Christmas and New Year holidays. He also finds the editing process, particularly at Parallax, deeply rewarding, witnessing connections emerge organically. Collaboration with actors like Kaneza Schaal and Shaunette Renée Wilson, watching them embody the film's ideas, was another highlight. Joseph reveals that the futuristic elements in Shaunette's journey resonate with themes explored in the podcast 'The Shrink Next Door,' which he was listening to during the film's production. This resonance speaks to the film's exploration of unconventional thought processes and their impact.
BLACK CULTURE HISTORY FILM KAHIL JOSEPH BLACK ODYSSY ART INSTALLATION TRANSATLANTIC BIENALE W.E.B. DU BOIS NOAH DAVIS JEAN-LUC GODARD ARTHUR JAFA MUSIC VIDEO ARCHIVING CONTEMPORARY BLACK TWITTER
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