Date

Sep 19 2021
Expired!

Time

4:00 pm - 7:00 pm

Candyman – Special Screening + Panel (Rotterdam)

Nia DaCosta: “Throughout the making of the film, the thing that I always came back to was the truth that was at the center of the story of Candyman. In the real world, we create monsters of men all the time. People are murdered, they become either saints or they’re vilified. Throughout the last year and a half, it was always coming back to that truth. Horror is a very effective tool when it comes to telling stories about things that impact us on a social level. The very function of it is to make you uncomfortable and I think if that discomfort is attached to explorations of race or gender, you have to then reconcile your feelings about race and gender.”
26 years after the original was released, Jordan Peele signs on as a producer for the remake of one of the Blackest horror classics Hollywood gave us: Candyman. In November of that same year, 2018, it was confirmed that Nia DaCosta would direct the film. When that first trailer with the haunting remix of Destiny’s Child’s “Say My Name” was spread all over our timelines, it was clear that this film would rightfully demand our full attention and excitement. And then… the pandemic hit.
Fast forward to now. Sunday September 19 in Rotterdam, to be exact. Lyse Ishimwe Nsengiyumva (Recognition), Simone Zeefuik (Bijlmer Parktheater) and Aruna Vermeulen (HipHopHuis) teamed up to co-host a Candyman-event with Rotterdam based cinema Cinerama. After the screening there will be an hour long panel about the film. During this talk, we’ll focus on the artistic brilliance of the film, its pro-Black imagination, the social commentary-references that stood out to us and the place it holds within the genre of pro-Black horror. The conversation will be in English.
Moderator: Tracian Meikle.
Panelists: Will be announced on Friday September 10. Three names we can already announce: Lyse Ishimwe Nsengiyumva, Simone Zeefuik and Cye Wong-Loi-Sing.
Son of Baldwin: “It’s like author Brit Bennet said, a lot of these films being made in the wake and spirit of Get Out fail to do the transformative work of making this situations something other than trauma porn. If you’re going to use a racially traumatic paradigm as the basis of horror cinema, I believe you have to do something artistic to transform it into a considered, thoughtful morality play or cautionary tale that goes beyond simply torturing the Black characters for kicks, sh*ts, giggles and the white gaze. And you have to do that artistic work because the racially traumatic paradigm is ALREADY HORROR IN REAL LIFE.”