"sometimes when I look at you, I feel I'm gazing at a distant star. It's dazzling, but the light is from tens of thousands of years ago." - Haruki Murakami
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Carolyn Hinds, a Black film critic and journalist, makes a good point about the whole discussion regarding You, Me & Tuscany.
"[...]At the end of the day the same racist studios and executives win. Either they save money on a film they never wanted to make, or make money from a film they never wanted to make. All that happens is the cycle of manipulation and exploitation is spun and the culture goes no where[.]
It's beyond time we stop demanding loyalty from racialised audiences just because we're Black, Indigenous, or Asian, because it's been proven time and again that when it comes to Hollywood, that representation is a tool they get to use way more again us, than we against them."
[...]They don't care about what we think. Just how much they can make off of us. [...]If people turn up to see the movie, great! If they don't, that's fine too. But don't preemptively make people feel bad for assumed losses. Especially when there's already enough to think and worry over."
We are defined by our flops, and our successes are flukes. How can we win, when they keep moving the goalposts?
Black audiences have collectively "proven" that they will spend time and money on film and shows they think are worth the time, and more recently, under the duress that marginalized creatives will be disappeared or made invisible if they don't. They've done that for the better part of thirty years.
Whether a Black film makes money or not, the industry has already made up its mind about what they consider worth their time, and it's not Black art. Black art and actors get a limited amount of time in which they're tolerated and then the door closes. Hollywood is comfortable systematizing the possibility of giving others opportunities as leverage against Black folks in their business.
And with respect to Black creatives in the industry, I think they have to start doing something with the political acumen and influence they have to push back against the kinds of conditions the industry is putting on them vs. their white contemporaries. They can't keep rewarding this kind of behavior, and asking their audiences to follow suit.
"A film I didn't work on might be the decider on if my project gets green-lit" is a very different beast than, "I worked on this film and I would love your support as a member of the audience".
I think that's the distinction people have to keep in mind when they see folks on social media pushing their work.
The industry has seen the numbers, know how much they can make off the audience. None of the above really moves the needle in terms of guaranteeing Black and non-Black stories financial or political futures. Making them the norm or the default in the mainstream or the underground. It's always back to square one.
At a certain point, it ("make sure you go see this film!") really does feel like exploitation with little dividends for the audience (and doesn't even help the more monied creatives outside a moment). I'd go as far as saying that the harried refrain begins to feel like the same scare tactic the Democratic party uses when it trots out one of their Black token politicians.
If Black and non-Black creatives are going to keep doing that, then there has to be something given back to their communities that isn't asking for media consumption plus their money.
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If you have the opportunity, PLEASE go see You, Me & Tuscany. If you want to support female directors, go see this movie. If you have been complaining about the lack of originality in cinema, the constant adaptations and IP crap, GO SEE THIS MOVIE. There are eyes on the results of this film to see whether or not original screenplays still have the hold of audiences. And despite the success of films like Sinners, black cinema is still not being invested in, with black filmmakers being put on pause by studios until the box office numbers of this film comes out. It's been almost a decade since a major black-led romcom was in theaters. It looks like a fun time, go see it! It comes out April 9th in Australia and New Zealand, and April 10th in the US and UK.
TheWrap article Nina references:
Women directed just 8.1% of top-grossing films in 2025, down from 13.4% in 2024, marking a "complete reversal" of progress, a new study says
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