Rocket #9

In the rich history of low budget Black cinema, there are a few rare gems that I feel every Black person should see in their lifetime. Among them is "The Blood of Jesus" (1941), a groundbreaking film directed by the multi-talented Spencer Williams. This film lays the groundwork for Black indie films with its ghastly folk aesthetic, non linear storytelling and angelic imagery. "The Blood of Jesus" remains an essential cinematic experience even after more than eight decades.

Now why THIS film?

"The Blood of Jesus" holds a special place in the annals of Black cinema as one of the first feature-length films to be produced and directed by a Black filmmaker. This milestone not only paved the way for future filmmakers but also provided a platform for authentic representation and storytelling.

The storyline is the classic “in between heaven and hell” trope and it is executed in such a stylistically sound way that it kept me glued to the screen. It reminded me surrealism and Dadaism which was huge in white cinema and literature at the time. This is early Afrosurrealism, dare I say. We see masterful interaction with atmospheric lighting, symbolic dream sequences, and breathtaking slow dissolves. It has lots of non-linear storytelling which is seen in many different Black indie films, especially from the 90s and it was fun making this connection.

Here’s a brief synopsis:

The film tells the story of a young woman named Martha, played by Cathryn Caviness, who is accidentally shot by her husband, Razz Jackson, portrayed by Spencer Williams himself. As Martha lies between life and death, her soul is caught in a cosmic struggle between the forces of good and evil. The narrative takes the viewers on a spiritual journey, as Martha's soul encounters various characters, symbolizing the temptations and choices she must confront. The film skillfully weaves together elements of Christianity and African American spirituality, highlighting the interconnectedness of faith and culture.

Written by your favorite Black film head, welcome to Nigga Mag.

While I think that sometimes Kelela’s quest for innovation, originality and ingenuity can comes at the expense of a good tune, there’s no avoiding the fact that simply no one else makes R&B quite like her. This music is so chillingly huge, Kelela herself pushing her voice out as its own sort of frequency or texture reverberating through throbbing, thudding space.