CIFF 2024: Compensation, The Ghost Who Sat at the Door, Save the Children | Festivals and awards

In its 28th year of showcasing films at the Chicago International Film Festival, the Black Perspectives program brings archival classics back to the big screen, giving them the opportunity to impact new audiences in new ways. Thanks to the power of 4K restoration technology, which means that a film’s visuals and audio are remastered and greatly enhanced, films are given a second life and sometimes a second theatrical run. For the works of black filmmakers, restoration and digitization mean permanence in the archive and inclusion and proper recognition within the wider canon of filmmaking.

Restored “Compensation” full of romance, poetry, innocence and heartache. Zeinabu director Irene Davies proudly boasts that the restoration of her 1999 film is actually a “rejuvenation” with added accessibility features such as subtitles and improved sound. As animated film recycles, there is also regenerative representation for the deaf. From the black community to independent filmmakers to those struggling with autoimmune diseases, they will all be able to resonate with the representation of themselves on screen.

The restoration, originally shot on 16mm black-and-white film, retains all the warmth of celluloid. As the film oscillates between the stories of two lovers in the 1900s and the 1990s, each story line has key connections: a trip to the movies, laughter while studying, and sweet words whispered in American Sign Language on the shores of Lake Michigan. . Davis and team strategically use archival photographs obtained from the Chicago Historical Society to transport the audience to Progressive Era Chicago. The costume designs and title cards are the icing on the cake to make the Indemnity-era sequence exciting and believable.

Entitled and inspired Paul Lawrence Dunbar poem of the same name, which also appears throughout the film in songs and love letters, Davis, along with the film’s composer, ragtime pianist Reginald R. Robinson, the writers and the cast, create an exceptional independent picture about usually taboo subjects. Intertwining issues of race and gender are clearly evident, but “Compensation” handles the theme of ability and ability with a great deal of care, and also embodies the motif of the power of education.

Based on Sam Greenlee’s 1969 novel, The Ghost That Sat at the Door is an exploratory, calculated adaptation. Set in Chicago, the story is directed by Ivan Dixon, complemented by a smart, witty, inspiring script, eye-catching 70s fashion and tactful plots. Early in the film, we witness the Central Intelligence Agency’s (CIA) superficial efforts to become more diverse after a politician runs on the grounds that the CIA is exclusive in order to sway the black vote in his favor. Because the CIA is trying to prevent these claims, they are recruiting only one black agent. From the very beginning of the film, it is clear that the powers-that-be only care about optics; there are no real allies within.

Gil Scott-Heron’s song “White on the moon” kept running through my mind throughout my CIA training, and the main character, Dan Freeman, played wonderfully by Lawrence Cook, returns home to train guerrilla troops. “You can’t put an animal in a cage and expect it not to fight back one day,” says Freeman as one of the many reasons he came back radical with a purpose and a plan. At the time of its debut, The Ghost Who Sat at the Door was easily dubbed by Hollywood as another “Blaxploitation” movie; with this reissue, it has a chance to reclaim its place in the archives as a slick, call-to-action drama that leaves viewers questioning who will be able to live the American dream or the American nightmare.

For more on The Ghost That Sat at the Door, see this feature by Robert Daniels.

“It happened in Chicago, but it could have been anywhere.” Stan Lathan’s 1973 film, “Save the children”, documents the Reverend Jesse Jackson Jr.’s 1972 Operation PUSH and the PUSH EXPO, where the black community gathered and celebrated their contributions to history and culture, and navigated what it took to achieve success in the future Built around the theme of “save the children,” the exhibit brought together black businesses, artists, musicians, community representatives and leaders. Despite a multi-industry showcase focused on providing educational tools for the black community, the Save the Children documentary, now available on Netflix, features only powerful musical performances and occasional appearances by Reverend Jackson.

Over the course of 99 minutes, modern audiences can witness intimate performances by Marvin Gaye, Bill Withers, Jackon 5, Curtis Mayfield, Spooks, Roberta Fleck and many others. A short voice-over introduction to the film is the only informational crutch that supports the audience’s understanding of the diversity and purpose of the symposium. PUSH EXPO is five full days of programming on the South Side of Chicago; being classified as a concert film is a disservice to a number of activations aimed at uplifting the black community. Yet joy and excitement abound as the camera pans back to the crowd singing, swaying and smiling. To the filmmakers’ credit, Save the Children was saved from extinction; finding original footage and audio was a real chore, so we focused on including the best performances and speeches. There are also balancing moments captured as the camera moves through the streets, illuminating both the beauty and the hardships the community faces. At these moments, the viewer is reminded that this is not just a musical film; it is the personnel that preserve the legacy.

Like The Spook Who Sat by the Door, authentic psychedelic 70s dark folk fashion saturates the screen with incredible colors that match the vibrancy of the music we hear. As the film ends with Reverend Jackson’s sermon, the crowd feels empowered, but the audience wonders: What happened to PUSH EXPO?