Tag Archives: fruitvale station

Brash Young Turks & Race @ The Film Boutique: June 2016


I hope you have your tickets for the great line-up of films we have coming up in June at the UK’s No.1 and longest running exhibition platform of urban/black films.

This May we celebrated 18 years of leading the way in creating a platform for black filmmakers. Over the last 18 years we have worked on over 200+ films and organised marketing and PR campaigns for major film releases like: Crouching Tiger, Hidden Dragon, Crash, Freedomland, Ong Bak, Red Tails, The Story of Lovers Rock, Ghett A’ Life, The Butler, Black Nativity, 12 Years A Slave, Half of a Yellow Sun, Starred Up, Fruitvale Station, The Maze Runner, Gone Too Far, Selma, Chris Rock’s Top Five and many other home entertainment titles.

Yep it was us, that set the path for others to follow in the field of film exhibition of urban/black films, but none other has done what we have done by moving into the mainstream and getting paid by mainstream films distributors to screen and market the very said films we choose to champion on our own at the outset of our long journey.

We all owe Kush CEO Marlon Palmer a debt of gratitude, for his vision and tenacity in realising this dream, a dream he still continues to fight for today; as not a lot has changed since 1998.

We could not have got where we are today without our supporters and we salute them for their long-standing support and the friendships we have built up over the years!

So right; what do we have for you in June, well we have a new British urban action-drama by filmmaker Naeem Mahmood and following the film ‘Race‘ which is the epic story of athletics NAEEM-MAHMOOD-DIRECTORlegend Jesse Owens who single-handedly slapped down the delusional dictator & mass-murderer Adolf Hitler at the 1936 Olympics (see here for more info on Race).

Make sure you get your tickets and come on down and support these great films with your ‘bum‘ on a seat at the lovely Regent Street Cinema, the heart of film land London.

Tickets to all screenings is £15 (students: £11)
BOOK HERE: https://www.regentstreetcinema.com/programme/brash-young-turks/

Also see here for trailers etc & more info:


June 2016 at the Kush Film Boutique

We present a special exclusive screening of the new hyper-stylized action-drama that appeals to all with the story revolving around a tale of friendship, love and adulthood.

Brash Young Turks which will be attended by the director Naeem Mahmood, writer Paul Danquah and stars Paul Chiedozie and Melissa Latouche.


BOOK HERE: https://www.regentstreetcinema.com/programme/brash-young-turks/

Special Guest Performance by hot new artiste

Our home for all screenings:
The Regent Street Cinema
309 Regent Street,
London, W1B 2UW
Tel: 0207 911 5050



Kush Films
E: info@kushfilms.com
Tel: 0203 070 3200
FB: KushFilms

Film Review: Dope

Written by Jeff Bannis




What can one say about DOPE? Firstly, that it’s a far more intelligent comedy than the usual Hollywood effort.  It also has a cast list packed with young talent that will entertain and charm the most hard-bitten of cinema-goers.  On top of that, there are some thought-provoking moments that really hit home.

The opening scenes, where we meet Shameik Moore‘s Malcolm establish him as a nerdy kid who, in the best traditions of high school comedy, is mercilessly bullied by jocks.  In voiceover, Malcolm complains he is unpopular because he does “white stuff”, like read books.  Malcolm is obsessed with 90s rap music, as are his friends Diggy and Jib (played by Kiersey Clemons of Transparent and Tony Revolori of Grand Budapest Hotel).  One’s a lesbian, the other is just odd,  like Malcolm they’re also outsiders.

When not on the run from the jocks, our geeky chums like to play in their rock band, Awreeoh (geddit?) or hanker after girls. Malcolm’s current crush is on smart ghetto girl Nakia, played by Zoe Kravitz. Nakia also attracts the amorous attentions of hood-with-a-heart, Dom (A$AP Rocky).

Set in a tough neighbourhood, named “the Bottoms” in the film but in reality a thinly disguised Inglewood LA, its only a matter of time before the eponymous illegal substance rears its head.  Finding himself in accidental possession of a massive drugs cache, Malcolm has to figure out a way to avoid the law and keep various drug-dealing villains off his tail while securing a scholarship to Harvard. Piece of cake!

Its a complex set-up but there are some truly funny lines along the way. DOPE has a winning cast, some genuine laughs and the film’s light approach persuades you to stick with it. It’s a departure from its producer, Forest Whitaker‘s last success, the excellent Fruitvale Station, although the two share the same camerawoman.

On the demerit side, for a film that sets out to debunk black stereotypes, DOPE misses its targets.  Malcolm and his friends all love 90s rap, so why do they choose to express this through dated, post-punk pop music (courtesy of executive producer Pharrell Williams)?  The stuff Awreeoh perform really is rubbish but its presented, embarrassingly, as quality.  Now, perhaps its aimed at the assumed demographic for a John Hughes-influenced teen comedy, but its inclusion here implies that rock is the default musical form for intelligent teens, rather than just for white people.  Why don’t Awreeoh just make 90s-style rap?

On a similar note, in a piece direct to camera, Malcolm challenges the audience to examine their supposed surprise that he wants to go to Harvard.  This falls flat because “disadvantaged kid achieves excellence” is such a well-established trope in Hollywood, we can all write this film’s ending. Who exactly do the makers think will part with hard cash to see this film?  For its likely audience, it isn’t a revelation that black youths strive to achieve – it’s a revelation when they make it.

Rick Famuyiwa is not a debutant director – his forthcoming HBO movie, Confirmation, which stars Kerry Washington as Anita Hill will doubtless raise his profile even further.  But DOPE’s weak points are due to his uncertain handling of tone, especially noticeable in intimate scenes.

The film scores hugely when it throws the over-complex storyline away for a while and lives in the moment. The LAPD need to put out an APB on model-turned actress Chanel Iman right now, because she absolutely steals this movie with a hilarious cameo.  It doesn’t play any part in the story but it’s genuinely funny, sexy and lifts the whole endeavour into the arena of anarchic fun that is surely the initial intention of every comedy writer.

It’s not giving much away to say that DOPE has a happy ending.  In a manner that’s not fully expounded on-screen, Malcolm acquires a backbone and starts standing up for himself.  The fact that he shows this by selling drugs and in a willingness to use violence undermines the film’s message somewhat but it puts necessary story elements to bed.

Dope has great entertainment value and is ambitious in trying to satirize the stereotyping of black people as criminals and their white clientele as warm, freedom-loving human beings.  If in rounding all the bases it loses its way, it should be forgiven if only because it takes such a refreshingly grown-up stance on stubbornly immovable social barriers.

© 2015 Jeff Bannis

Dope In Cinemas 4 Sept

Meet The Artiste: Filmmaker Rick Famuyiwa

Kush Marketing ‘Selma’ which hits UK Cinemas 6th Feb

Selma: the Oscar nominated film (best Picture) is coming to the UK, and we are pleased to say once again Kush Promotions & PR the UK’s N0 1 Marketing/PR & Film Exhibition specialists have been called upon once again to support this release and bring it to the urban/black public of the UK.

After last year (2014 in case you’re still dizzy from Christmas), who would have thought things would carry on in this mode?

To explain last year was crazy and went by in a blur but there was a dawning upon Kush (all aspects of the business) and it was like been in a chauffeur driven car where you are just been taken where you want to go and given what you need and all you have got to do is do what you do best by doing what you love to do!

Last year we were called to work on: 12 Years A Slave, Starred Up, Half A Yellow Sun, Fruitvale Station, Gone Too Far & The Maze Runner – it was non-stop 4-week campaign marketing all last year – wow!

The year went by so quickly and now we are here in January 2015 and back with another sensational new lauded film – one that again lifts up the spirit and reminds us of what we are still fighting for each day as minorities here in the UK and also in the united states.

I hope you appreciate SELMA as I do and you also totally appreciate the rising director Ava DuVernay and the talent of Nigerian-British actor David Oyelowo – his performance as Dr. Martin Luther King is phenomenal!

Marlon Palmer (Kush Promotions & PR Director)

In spring of 1965, a series of dramatic events changed the course of America and the modern concept of civil rights forever — as courageous marchers, led by Dr. Martin Luther King Jr., attempted three times to carry out a peaceful procession from Selma, Alabama to Montgomery, Alabama on a quest for the basic human right to vote. The shocking confrontations, the triumphant final march and the passage of the 1965 Voting Rights Act that followed are now an indelible part of history. But the vitally relevant, vitally human story of Selma – from the political battles in the halls of power to the grit and faith of people on the street to the private, inner struggles Dr. King faced – has never been seen on the movie screen until now.

Starring: David Oyelowo, Carmen Ejogo, Tom Wilkinson, Tim Roth, Oprah Winfrey, Common, Wendell Pierce, Tessa Thompson & Cuba Gooding Jnr
Distributor: Pathe UK

Released: Friday 6th February 2015






Fruitvale Station is the new award-winning acclaimed true story that will be released in UK cinemas from 6th June 2014.

We have 60 tickets to give-away and we would like to INVITE you to a Special Screening of Fruitvale Station at the plush Mayfair Hotel on Friday 30th May (6.30pm for 7.00pm start).




Fruitvale Station is the new award-winning acclaimed true story that will be released in UK cinemas from 6th June 2014.
We have 60 tickets to give-away and we would like to INVITE you to a Special Screening of Fruitvale Station at the plush Mayfair Hotel on Friday 30th May (6.30pm for 7.00pm start).

All you have to do to Win A Pair of Tickets is send us your full contact details and we will randomly pick the lucky winners from our special ‘Kush hat’ on Wednesday 28th May and inform the winners by the end of that same day.

Please send us:
1.       Your Full name
2.       Your Email & Mobile/Telephone Number

 *Also tell us why you love Kush Films & watching urban/black films…. (It may influence the hands going into the hat, LOL!)

Please send your details to: info@kushfilms.com

Deadline Date: 4.00pm:  Tuesday 27th May


Good Luck – Hope To See You There!



  • Only one entry per person.
  • Entry into the competition and full contact details requested must be sent to us by the deadline date.
  • Each entrant is only allowed one-pair of tickets in total.People caught abusing the rules will be banned from all Kush events and competitions.
  • You must be sure you are free to attend the screening at the central London venue on the 30th May at 7.00pm and if for any reason you are not able to attend you will endeavour to inform us as soon as you are aware of this, so someone else may take your place in your absence.
  • All entrants will have their contact details added to our email and sms databases (if you do not want to be added to any one particular database please let us know – but you must be added to at least one of our databases so we can keep you informed of future promotions and events).*This competition is run by Kush Promotions & PR and all our allocated tickets for this event will be allocated by us solely; differently from any other organisation also promoting this screening elsewhere.

New movie Fruitvale Station reminds us of the problems between the Police and Black people in the UK

written by Lee Pinkerton



New movie FRUITVALE STATION tells the true story of Oscar Grant (played by Michael B Jordan), a 22-year-old Black man, and his tragic interaction with Transport Police on the night of New Year’s Eve 2008.

The story of his tragic and needless death at the hands of law enforcement officers in America, reminded many of the killing of Mark Duggan in the UK.

Mark Duggan, 29, was a passenger in a minicab when on Thursday  August 4th 2011 he was shot dead in the street by police.  The death occurred during an operation where specialist firearm officers and officers from Operation Trident, were  attempting to carry out an arrest.   It was at first announced  that Mr Duggan had been shot after an apparent exchange  of fire. Later the IPCC admitted it may have misled journalists into believing Mr Duggan fired at officers before he was killed.  The circumstances of Duggan’s killing resulted in public protests in Tottenham which, fuelled by poverty and racial tension, led to conflict with police and escalated into riots across London and other English cities. This is widely seen as the  cause of the 2011 England riots.

Like Oscar Grant, Duggan had had previous dealings with the police but  was said to be “a good Dad” who “idolised his kids”. He and his fiance were hoping to marry soon and move out of Tottenham to “start a new life together” with their three children.

The main difference between the Duggan and Grant cases, was that in the American example there were many eye witnesses, with the event even being caught on camera phones.  Perhaps this is why the Police in the Grant case were convicted.  Some were disgusted that Grants’ murderer only served 11 months, but the officers who shot Duggan’s here in the UK were not even found guilty.

On Wednesday January 8th 2014, the jury at the High Court in London found the Police officer who shot Mark Duggan dead, not guilty of unlawful killing.

The presumption of the ‘Great-British-Public’ and the ‘Main-Stream-Media’ is that if the Police use force, then that force must be warranted.  If the Police use deadly force, then they must have considered themselves or the public to be in mortal danger.  In this case the deadly force was justified because the Police THOUGHT that Duggan had a gun and was aiming to shoot.  The fact that he didn’t is just a tragic mistake..

But this Duggan shooting is no isolated incident. To put this case in perspective, let’s have a quick review of the Police’s treatment of Black Britons over the last 30 years.

On 12 January 1983, a young black Hackney man, Colin Roach walked into the lobby of the old Stoke Newington police station, and allegedly blew his head off with an old shotgun. Roach had only minor convictions and was not wanted by the police at the time. There was evidence that he feared ‘someone’ was out to get him. Among the black community of Stoke Newington, ‘someone’ was the police. There were sections of the local community which believed he had been shot by the police. Others believed that whilst the police generically might be capable of doing this, they would not be so foolish – unless this was the most amazing double-bluff – to do it literally on their own doorstep.’
A coroner’s jury voted eight-to-two that Mr Roach committed suicide, but Hackney residents staged angry demonstrations and refused to accept the verdict, pointing out that (among other puzzles) no fingerprints had been found on the shotgun; nor had it been forensically linked to the dead man.
In 1985, an independent inquiry into his death on behalf of the dead man’s family was told of police harassment, wrongful arrest, uncivil conduct during home raids, misuse of stop and search and other abuses to Stoke Newington’s residents.

colin roach

In September 1985 the police conducted an armed search of the home of Cherry Groce seeking her son Michael Groce in relation to a suspected firearms offence – they believed Michael was hiding in his mother’s home. Mrs. Groce was in bed when the police began their search and Michael was not there at the time, but Mrs. Groce was hit by a police bullet – an injury which left her paralysed from the waist down.   This event was the spark for the Brixton Riots of 1985. The police officer who shot Mrs. Groce, Inspector Douglas Lovelock, was prosecuted but eventually acquitted of malicious wounding. Mrs. Groce received compensation from the Metropolitan Police.

The very next month a young black man, Floyd Jarrett, was arrested by police, having been stopped in a vehicle with an allegedly suspicious tax disc. Four police officers searched his home. In a disturbance between police and family members, his 49-year-old mother, Cynthia Jarrett, fell over and died of a stroke.  Cynthia Jarrett’s death sparked outrage from members of the black community against the Metropolitan Police, and was the spark for the Broadwater Farm Riot.

Joy Gardner was a 40-year-old Black woman from Jamaica who was killed during a struggle with the police at her home in Crouch End, London. Joy had come to visit her mother, Myrna Simpson, in 1987, but had overstayed her 6 month visa. In 1993 an immigration officer and police officers arrived at her home to serve a deportation notice. When Gardner refused, the police entered her home and struggled and fought with her. Police gagged and restrained Gardner using a body belt and wrapped 13 ft of tape around her head which they later claimed was to prevent her biting them. Gardner suffocated and subsequently fell into a coma. She later died in hospital. These events were witnessed by Gardner’s five year old son. The three police officers involved were found not guilty of manslaughter in 1995.

In April 1998Christopher Alder,  a 37-year-old trainee computer programmer and former British Army paratrooper who had served in the Falklands War and Northern Ireland, had been assaulted outside a night club and taken to a local hospital, where he was arrested by officers for an alleged breach of the peace following complaints about his behaviour from nursing staff . While fit enough to get into a police van by himself, CCTV footage shows that upon arrival at the police station, Alder was unconscious when dragged from the van and placed on the floor of the custody suite.  Officers calmly chatted among themselves, one of them suggesting he was faking illness. Eleven minutes later, when officers finally realised he had stopped breathing, attempts to resuscitate him came too late.  Alder died lying face down, handcuffed, with his trousers around his ankles on the floor of a police station in Hull. Following his death, Alder’s sister Janet launched a long struggle for justice. In 2000 a coroner’s jury returned a verdict of unlawful killing, and in 2002 five police officers went on trial accused of manslaughter and misconduct in public office. All were cleared on the orders of the judge. An internal disciplinary inquiry by Humberside Police cleared the officers of any wrongdoing. In 2006, an Independent Police Complaints Commission report concluded that four of the officers present in the custody suite when Alder died were guilty of the “most serious neglect of duty”, but the officers responsible walked free.

On January 11, 1999, police arrived outside Roger Sylvester’s house as a result of a 999 emergency call. Two officers came to the house initially and found him naked in his front garden. Within minutes another six officers had arrived. The eight officers put Sylvester to the ground where he was handcuffed.    He was detained under Section 136 of the Mental Health Act. Police officers told his family that he was restrained “for his own safety.” According to one witness, Sylvester’s body was already limp when it was placed in the police van. He was taken to St Ann’s hospital and carried from the van to a private room where, still restrained, he was put on the floor by upwards of six police officers for nearly 20 minutes before being seen by a doctor. The officers, with the assistance of medical staff, tried to resuscitate him but he had sustained numerous injuries and remained in a coma at the Whittington hospital until his life support machine was switched off seven days later.

24 year old Azelle Rodney was a back seat passenger of a Volkswagon Golf travelling the streets of North London in April 2005, when the police performed what they call ‘a hard stop’.  The car had been under surveillance for several hours before officers stopped it in Edgware.  Police believed he was part of an armed gang who were on their way to rob a Columbian drugs gang.  With this suspicion the Police could have arrested Rodney and the other occupants of the car before they even started their journey, but instead chose to allow them to start their drive across London. Alternatively, the officers who had been following Rodney’s car covertly, could have switched on their lights and siren when making the stop so that they could clearly have been identified as officers.  Instead, within seconds of the Police surrounding the car, Rodney was shot six times by an armed officer who offered no verbal warning.  Two other occupants of the car were later convicted for firearms offences, but there was no evidence that Mr Rodney was holding a weapon at the time of the shooting.  True to form an investigation by the IPCC exonerated the Police, and the Crown Prosecution Service decided there was no criminal case for the police to answer. Seven years  later in 2012 a public inquiry was opened instead of an inquest because a coroner would not have been able to see some of the evidence that Police say was behind their actions.  In July 2013, a public inquiry chaired by a retired High Court judge concluded the killing was unlawful.

On March 15th 2011 Police conducted a search at the home of David Emmanuel aka reggae artist Smiley Culture.  Whilst Police were at the property Smiley Culture sustained a single stab wound to the chest, from which he later died.  An investigation into the Police operation was conducted by the IPCC and found no evidence that a crime had been committed, and no misconduct by Police officers.   An inquest into Smiley’s death will be held in front of a jury and will not take place before the conclusion of the trials to which Smiley was allegedly linked.

Though apologists say that relations between the Police and Black people are much better than they were back in the day, the truth is that little has changed.  Back in the 80’s it was the hated ‘Sus’ law that caused tension between the Police and young Black men – now its Section 60 powers.  Introduced in the 90’s to deal with football hooliganism, now its used to harass those who’ve never been to a football match.

In 2010 there were 70,000 stops and searches in London alone. Analysis by the London School of Economics and the Open Society Justice Initiative shows that during the last 12 months a Black person was nearly 30 times more likely to be stopped and searched that a white person.  And a separate analysis, based on Home Office data reveals that less that 0.5% of section 60 searches led to an arrest for possession of a dangerous weapon, five times fewer than a year ago.  And then they wonder why so many young Black men hate the Police?

How much have things really changed?  The death of Cynthia Jarret at the hands of the police led to the Tottenham Riots in 1985.  The shooting of Cherry Groce by Police the same year led to the Brixton Riots.  The shooting of Mark Duggan by the Police led to the Tottenham Riots of  2011 and the general hostility towards the police by Black people, and feelings of alienation and hopelessness from the underclass took those riots nationwide.

The case of Oscar Grant, like the 1991 case of Black motorist Rodney King, (below) shows that often it is only when evidence is caught on camera, that justice will be served.

Lee Pinkerton

Fruitvale Station is in cinemas now. Read the review here
Click here for a nationwide list of cinemas 

Film Review: Fruitvale Station

written by Leslie Byron Pitt

Fruitvale-StationPosterPoor old Michael B Jordan. A black actor picked to portray a usually-white comic character (Johnny Blaze), he faced the ire of the fanboys (despite Hollywood whitewashing ethnic characters from a Touch of Evil to Othello with little outrage). While in Chronicle (2012), Jordan played the all-star jock with a good heart who meets  an unfortunate fate, here in Fruitvale Station, where Jordan plays the tragic role of Oscar Grant, I found myself in a discussion with colleagues about this character being portrayed as  “too good”. I was tickled by the idea that in the era of the superhero, this account of a poor black boy who meets a tragic fate at the hands of a cop could be considered too sanctimonious. When looking at Mr Jordan’s body of work, I’m wondering if quite simply, he is not allowed to be “good”.

Ryan Coogler’s feature length debut is inspired by the true story of the last 24 hours of young, black ex-dealer and frames it with the argument of redemption being too far-reaching for such a person. Is Oscar being “too good”? Possibly. Maybe it’s because he lives in a world where even being good for him means being better, constantly. Coogler’s film is full of small moments that remind us how the world can be viewed by young black men. We witness a scene in which Oscar (a superlative performance from Jordan), on his day off, tries to provide shopping advice to a woman who is not sure on what type of fish to buy for her New Year’s Eve party. He politely offers his help, she silently steps away from him, weary of his hoodie and hat, yet ignorant of his polite demeanour. She only co-operates when his friend behind the counter vouches for him. The film is intelligent in its observations of the micro-aggressions that aggregate throughout the life of black youths. Oscar is someone who needs to show at every turn just how good he is as a person, but he lives in a world where he is far too often looked at in negative terms. A short and rough-edged jail time flashback show us that he’s already proved naysayers right once.

This is a flawed man whose infidelity, anger and troubled past are observed as well as his more positive side. While Oscar may be at odds when it comes to his financial burdens, his role as father to his child is not in question. Nor should it be, as Coogler shows Oscar is part of the 75% of American black fathers that take an active role in their child’s life.

FVS_Mum&OscarGrant_sadNew York Post critic Kyle Smith found himself frustrated with the films “mundane” observations of Grant’s life, yet in a cinematic landscape where normal black lives are still placed within the periphery, while stereotypes and support roles reign supreme, it’s particularly telling that the normal everyday lives of the majority are fine while that of the minority are considered un-needed or forced. What I found investing about such scenes was how richly grounded the performances make them.  Octavia Spencer handles her matriarchal role with the typical gravitas we know her for, while Melonie Diaz, as Oscar’s girlfriend, Sophia, gives a spirited performance.

Fruitvale Station
isn’t perfect. The film’s climax, while powerful and uncomfortable, also holds some of the most jarring contrivances involving characters we’ve noticed before. One of the most debated moments involving a run-over dog may be a well-illustrated metaphor for how Oscar’s life is finally viewed, but also feels a tad on the nose in consideration of matters. And while many find the opening 90 seconds to be the most powerful, I wasn’t too sure about the placement. As mentioned before, the film is blunt and not as nuanced as could have been hoped for.

That said, Fruitvale Station isn’t really about nuance. Such tones are best saved for films which FVS_Oscarpleadshave more leeway. The film affected me in a similar way to Boyz n the Hood (1991) or Menace 2 Society (1993). The film is blunt in a way that “hood” movies often are, and there’s a necessity for its directness due to the message itself:  that persons like Oscar Grant, in life or cinema, are given little leeway and no chance to get things right. Once again, we perceive shades of other true life stories that penetrate our media-hungry society, from the likes of Travon Martin to Mark Duggan. The details may have been revised slightly (Coogler gives the film a good degree of dramatic licence) but the outcome remains the same.  Maybe the film shows Oscar as so good because in real life, men like him will, no matter what, always be considered bad first.

Smith’s review hinted not only to not pay too much mind to the film, but also to Grant himself, giving both the film’s final words (“Where’s Daddy?”) and proceedings in general a grim sense of irony: when it comes to black characters who try to buck stereotypical trends, the majority don’t want to know. For me, Fruitvale works because it displays such matters so unflinchingly. It demands us to view the world in a way only too common for young Afro-American men.

Leslie Byron Pitt

Fruitvale Station is released in UK cinemas on June 6th.
see the full cast list here
read an inteview with the film’s director here
ee a list of nationwide cinemas on the special facebook page 



Fruitvale Station is coming to a cinema near you!


The UK’s leading promoter of urban cinema
in association with new UK distributor Altitude Films
presents the UK release of the multi award-winning film.


Fruitvale Station is coming to a cinema near you!

Writer and director, Ryan Coogler’s powerful, unflinching film debut, FRUITVALE STATION will open in UK and Irish cinemas on 6 June.

FRUITVALE STATION tells the true story of Oscar Grant (Michael B Jordan), a 22-year-old Oakland, CA resident over the course of December 31, 2008 as he works on being a better son to his mother (Octavia Spencer), being a better partner to his girlfriend Sophina (Melonie Diaz) and being a better father to Tatiana (Ariana Neal), their beautiful four year-old daughter.  As the day goes on Oscar realises that change is not going to come easily and as he and Sophina celebrate the New Year and a fresh start, one truly shocking, tragedy shakes his community – and the entire United States – to its very core.

Written and directed by debutant Coogler, the Independent Spirit Award and double Sundance Film Festival winner was produced by Forest Whitaker.


FRUITVALE STATION will open in key cinemas
across the UK and Ireland on 6 June.


In London

Cineworld Haymarket
Curzon Soho
The Barbican
Empire Leicester Square
Odeon Covent Garden
Odeon Holloway
Odeon Swiss Cottage
Picturehouse Hackney
Ritzy Brixton
Vue Finchley Rd
Vue Islington
Curzon Wimbledon
Cineworld Enfield
LEXI Cinema
Odeon Edmonton
Odeon Greenwich
Odeon Streatham
Odeon Wimbledon
Peckhamplex Peckham
Picturehouse Stratford East
Showcase Newham
The Aubin Cinema
Vue Shepherds Bush
Vue Westfield Stratford
Also Nationwide at:
Duke Of York’s Brighton
Broadway Nottingham
Odeon Birmingham Broadway Plaza
Phoenix Oxford
Showcase Dudley
Watershed Bristol
Cornerhouse Manchester
Liverpool FACT
Odeon Manchester Filmworks
Cineworld Sheffield
Cameo Edinburgh
Cineworld Glasgow RS
Glasgow Film Theatre
IFI Dublin
Light House Dublin
Week 2 – 13th June
Hyde Park Leeds
Picturehouse Greenwich
Shortwave Bermondsey
Rio Dalston
Curzon Victoria
Genesis Mile End
Week 3 – 20th June
The Barn Dartington

New sites are being updated as they come in – keep abreast
of new venues by using this app link here:

New Cinemas

If you want FRUITVALE STATION to play a your local cinema, ask them to book it!


FRUITVALE STATION is one of this summer’s must see movies.

see the full cast list here
read an inteview with the film’s director here
follow @fruitvalemovie on twitter
see a list of national cinemas on the special  facebook page

Fruitvale Station – interview with the film’s director Ryan Coogler



The multiple award winning film Fruitvale Station tells the true story of Oscar Grant, a 22-year-old Oakland, California resident, and the harrowing events that befell him on the night of New Year’s Eve  2008.  Here we speak to the film’s first time director Ryan Coogler.


What originally inspired you to make this film?
I was originally inspired to make this film by the event itself, as well as the aftermath. I was in the Bay Area, on Christmas break from film school when it happened. I heard that someone had been shot at the BART station, and that he passed away the next morning. On New Year’s Day I saw the footage, and I was deeply affected by it. Looking at the footage, I realized that Oscar could have been me…we were the same age, his friends looked like my friends, and I was devastated that this could happen in the Bay Area. During the trial I saw how the situation became politicized: depending on which side of the political fence people stood on, Oscar was either cast as a saint who had never done anything wrong in his life, or he was painted as a monster who got what he deserved that night. I felt that in that process, Oscar’s humanity was lost. When anyone’s life is lost, the true nature of the tragedy lies in who they were to the people that knew him or her the best. The footage, the trail, and the aftermath filled me with a great sense of helplessness. Many people in the Bay Area community participated in protests, others took parts in rallies and marches. There were also many riots stemming from desperation. I wanted to do something to make a difference, and I thought that if I could bring the story to life through art, and give audiences the chance to spend time with a character like Oscar, it could maybe lower the chances of an incident like this happening again.

How, and at what point, did Forest Whitaker come on board?
Ryan-Coogler-Forest-Whitaker-at-Cannes-Film-Festival-052513When I was in my last semester of film school, in January of 2011, I got word that Forest’s production company, Significant Productions, had been looking for young filmmakers to mentor and become creatively involved with, and that my name had come up in their search for filmmakers.  I went over to their office and met with Nina Yang, the head of production. Nina was great. She told me about the company’s mission statement and that she would love to read some of the stuff that I had written. I showed her a few of the projects that I had been working on, and after looking at them she decided that she would like to get me in the room with Forest.
I met Forest a few weeks later and was really encouraged by his humility and his passion for filmmaking and social issues. He was interested in hearing what type of projects I wanted to work on once I got out of school and I pitched him a few that I had been developing. Finally, I told him about FRUITVALE STATION and explained to him that it was the project closest to my heart. I talked about how I would structure the film, and about how I was already in touch with the lawyers in charge of the civil case through a friend who was formally a law student at USC and now worked on the case back in the Bay Area. Forest said that he would like to help me make the film immediately after the pitch, and shook my hand, and walked out of the room. I was so excited that I went home and started working on the outline immediately.

How long did it take to develop the film and what obstacles, if any, did you run into?
I started outlining and getting public record documents from my friend Ephraim Walker, who worked with John Burris, the family’s civil attorney on the case around the same time that I pitched the project to Forest. After Significant green lit the project, I then went to meet with the family, and pitch them on allowing Significant to have the rights to Oscar’s story. It involved a lot of trust on their behalf and I had to reassure them that I wouldn’t sensationalize the story in any way. I just really wanted the story to be told from the perspective of someone the same age and demographic as Oscar, and from the Bay Area. This took time. I showed them my short films, and told them about myself, and about why I thought that the story should be told through the lens of independent cinema. Eventually they agreed to move forward with the project.
FVS_PoliceGraspAnother challenge was making the film with a modest budget while still wanting to stay true to certain artistic convictions. We wanted to shoot in the Bay Area. We wanted to shoot on super 16mm film. These things all involved being open to creative solutions and going at an accelerated pace. We shot the film in twenty days, and didn’t have any pickups involving talent. The rapid fire schedule certainly didn’t stop after production. We shot in July 2012 and premiered at Sundance six months later. The schedule was an extremely challenging component, and put a lot of strain on everyone involved.
One of the biggest challenges stemmed from wanting to shoot in some of the real locations, mainly BART. There was a lot of worry about how we would get the BART station and train scenes shot, and because it is such a painful event for the company and the community, many doubted that they would cooperate. But we approached them, and found that they were open to meeting with us about the film. I met with them and told them what the project would be about, and why we wanted to shoot on BART premises. After hearing the pitch, they decided to cooperate with our production.

You were selected to bring the film’s screenplay to the 2012 Sundance Institute Screenwriters Lab. What effect did that experience have on you as a filmmaker and on how the project turned out?
Getting selected into the Sundance Labs was absolutely essential in making the film what it came out to be. So many positive elements that came together for the film were as a direct result of support received from The Sundance Institute and the hard work of the Feature Film Program staff. Michelle Satter, Ilyse McKimmie and their team provided much needed support much for me and the film throughout all the stages of the filmmaking process. In the 2012 Screenwriting Lab, I was able to take a week and focus on the script, while surrounded by a community of extremely talented artists who want to see everyone succeed in telling the story they want to tell. They provided me with the tools I needed to make a stronger script, and their support continued throughout prep, production and post. They provided us with financial grants, crewing advice, reading further drafts of the script, and watched cuts of the film as it progressed. They also provided introductions to people in the industry, like Craig Kestel who would later become my agent and play a pivotal role in helping secure the cast for the film.

Tell us a little about the process of casting the film.
Before writing the script, I knew that the lead would have to be able to carry the entire film. He would need to possess a great range and charisma, and it would be helpful if he had a lot of experience due to the rapid shooting schedule we were in for. I also wanted to have someone who resembled Oscar. There are pictures of him everywhere in the Bay Area and on the internet, and we needed someone with a great smile and eyes that could draw the viewer in, like Oscar’s. And it would help if the actor was around the same age as him.
FVS_Mum&OscarGrant_sadIn my mind, there was only one person who fit all of these requirements. I had Michael B. Jordan in mind before I had even written the script, and I was excited about the opportunity to really showcase his work in a lead role. We reached out to him after the labs and he took a meeting with me before reading the script, which I thought was really cool. We really hit it off in the meeting and I came away knowing that he was perfect for the role. I was thankful that he read the script later and wanted to do the project.
I knew we needed someone amazing for the role of Wanda, as she was such an important force in Oscar’s life and her character in the script would need to show a great deal of range. After reading the script, my agent Craig Kestel decided that we should reach out to Octavia, who had just won an Oscar for THE HELP. I knew she would be perfect for us, but I figured that she would never do it. He encouraged me that she would consider it, and we reached out with the script, and a few days later, she committed. Working with her was like a dream come true to everyone involved. She brought such professionalism, and a nurturing quality to the set, but also a great youthful energy and sense of humor. There is no one like her.
FVS_OscarGrant&GirlfriendMelonie Diaz for the role of Sophina came about through several recommendations, including from members of the Sundance Lab staff. I had seen her work before and really responded to it. We reached out to her and gave her the script, but because she was in New York and I was here in California, we had to have our initial meetings over the phone. After talking to her over Skype we offered her the role, and she came with a tremendous energy and work ethic. We were so grateful to have her; she and Mike had an amazing chemistry together.
The San Francisco Film Society, who were also amazingly supportive with financial grants and Bay Area film community connections, supported us with their Off The Page program. They flew both Michael and Melonie out to the Bay Area before our shoot, and put them up in the Bay Area for three days. While they were here we were able to workshop the script on SFFS property. I was also able to take them to meet Sophina and Tatiana, as well as take them to spend time in Oscar’s old neighborhood.
For the roles of Oscar’s friends, I was able to cast several of my friends that I had grown up with who were the same age as Oscar and his friends. Michael got along with them all really well, and they were able to lean on each other for support with what was, for many of them, their first time working on a feature film. Because most of them grew up with each other, their camaraderie came across onscreen and felt like true, lifelong friendships.

The story of Oscar Grant was a nationwide media sensation that fueled a great deal of controversy and news coverage. What made you decide to make this a narrative film, rather than a documentary?
FVS_babyTalkI decided to make a narrative feature about these events for several reasons. For one, I wanted to tell this story sooner than later, because events like this keep happening. One of the advantages to fiction filmmaking versus non-fiction filmmaking is that a fiction project can usually be completed faster. My favorite documentaries all took several years to make. Another reason was the difference in perspective in character driven fiction films versus documentary films. I personally believe that narrative filmmaking, when done right, can get you closer to a character than a documentary can.  In this story, I wanted the audience to be as close to Oscar as possible, without the barrier of the character knowing that he is being filmed, which is a barrier that is difficult to break in documentary filmmaking – especially with a limited schedule.

At the time of Oscar’s shooting, there were an overwhelming amount of witnesses who shared cell phone videos of the incident online. What role do you think this found footage played in the profile of the case, and how useful was it to you in making your film?
The footage played a key role in this case, because if it had happened ten years earlier, when people didn’t have the type of technology that they did in 2009 that enabled them to record video instantly, Oscar’s death wouldn’t have had the impact that it did. It would have been people giving verbal accounts of what happened, as opposed to documenting it with video evidence. The footage makes everyone who watches it a witness to what happened, and it is ultimately what made the case different from other officer-involved shootings.
The footage was very useful in terms of blocking the scene and working out the individual beats. But it also made for an added level of emotional difficulty in making the film. I cannot count how many times I have seen Oscar get shot, over and over again, from different angles, and each time you see something like that, it’s like it takes a piece of you.
But more so than anything, the role of cell phones and video cameras in the case inspired us to explore the use of cell phones throughout the film. It made us think about how we use them. Though it was four years ago, Oscar connected with his loved ones often through his cell phone, even on the last day of his life.

Was there a particularly difficult element or scene of the film to write and shoot?
Because we were dealing with such a short schedule, every scene we shot had its own inherent difficulties. I think that it’s like that whenever you’re making a film, but I think the most difficult scene to shoot was the scene on the Fruitvale BART platform. BART was extremely cooperative with us but they couldn’t let us shoot during their hours of operation. We could only have access to the platform and train between 1:15am and 5:15am.
FVS_OscarpleadsDue to that, we had to shoot the scene over three four-hour days. This was a challenge because the scene is our most involved, and included several elements: stunts, several extras, a firearm, and most importantly highly intense emotional beats. But our cast and crew really rose to the challenge. Before every one of those shooting days, everyone involved, from the film crew, to the cast, to the extras, to the BART employees, would come together in a moment of silence before we began filming on the location where Oscar was shot. And though we had limited time, everyone brought a focus and supportive energy to our short days at that location.

Aside from learning the story of his shooting and tragic death, what else do you want this film to teach audiences about Oscar Grant?
I want audiences to know that he was a real person. He was a person with real struggles and personal conflicts, but also with real hopes, and real dreams, and goals. And his life mattered deeply to the people that he loved the most. I hope that the film gives the audience a proximity to characters like Oscar that reading a newspaper headline can’t.

FRUITVALE title Orange on Black

This award-winning film hits UK cinemas from 6th June 2014
read the synopsis and watch the trailer here
see the full cast list here
follow @fruitvalemovie on twitter
see the nationwide lists of cinemas on the special  facebook page




Fruitvale Station – meet the cast



KUSH FILMS, the UK’s leading promoter of urban cinema, in association with new UK distributor Altitude Films,
presents the UK release of the multi award-winning film.  Meet the cast……


Michael B. Jordan is considered to be one of Hollywood’s brightest young actors. In 2012, he starred in 20th Century Fox’s box office hit CHRONICLE (directed by Josh Trank), a supernatural thriller that follows three Portland teens as they develop incredible powers after exposure to a mysterious substance. He also had a supporting role in George Lucas’ film REDTAILS (directed by Anthony Hemmingway), the story of the first African American pilots, called The Tuskegee Airmen, to fly in a combat squadron during WWII.
Michael recently starred alongside Zac Efron, Imogen Poots and Miles Teller in THAT AWKWARD MOMENT.
Before beginning his feature film career, Michael was best known for starring in two of the most significant television dramas of the past decade. First, Michael received critical acclaim for his portrayal of the hard-shelled, soft-hearted young urbanite Wallace in HBO’s dramatic hit series THE WIRE. He then went on to star as the quarterback Vince Howard on the critically acclaimed, Emmy-winning NBC series FRIDAY NIGHT LIGHTS. He also portrayed recovering alcoholic Alex on the third season of NBC’s fan favorite series PARENTHOOD.
Graced with the opportunity to begin a professional acting career early in his life, Michael caught the eye of Dr. Bill Cosby and was cast in the recurring role of Michael for the CBS sitcom series COSBY in 1999. Almost simultaneously, he appeared on the HBO series THE SOPRANOS. The following year, he was selected from hundreds of hopefuls to play Jamal in the Paramount Pictures feature film HARDBALL starring Keanu Reeves.
In 2003, Michael became the youngest African American actor to be contracted with the ABC network daytime drama series ALL MY CHILDREN in the role of Reggie, Susan Lucci’s adopted son. Michael later moved to Los Angeles where he soon landed a lead role in the independent film BLACKOUT, starring Melvin Van Peebles, Jeffrey Wright, and Zoe Saldana.  In the fall of 2007, Michael was cast in his first feature film, Rockmund Dunbar’s ensemble PASTOR BROWN.  He has had guest appearances on CSI, COLD CASE, LIE TO ME, WITHOUT A TRACE, and LAW & ORDER.
Michael received NAACP Image Award Nominations for “Outstanding Male Actor in a Television Daytime Drama Series” in 2005, 2006 and 2007. He resides in Los Angeles where he enjoys supporting the non-profit organization Lupus LA.



Melonie Diaz was raised in New York’s Lower East Side. She was bitten by the acting bug while she attended the Henry Street Settlement. Melonie also attended the Professional Performing Arts High School. Her mother and father are both of Puerto Rican descent.
She started her film career with a supporting role in Tom DiCillo’s DOUBLE WHAMMY and later landed her breakthrough role in Peter Sollett’s RAISING VICTOR VARGAS. She then was cast in Catherine Hardwicke’s LORDS OF DOGTOWN and DitoMontiel’s A GUIDE TO RECOGNIZING YOUR SAINTS, which earned her an Independent Spirit Award nomination for Best Supporting Female. She was also cast by Jamie Babbit in the lead role of Anna in ITTY BITTY TITTY COMMITTEE, as well as roles in HAMLET 2 and BE KIND REWIND.
She recently appeared in the indie features SAVE THE DATE opposite Lizzy Kaplan and Geoffrey Arend and SHE WANTS ME, opposite Hillary Duff, Aaron Yoo and Charlie Sheen.


12th Annual AFI Awards - Red Carpet

A veteran character actress and one of Hollywood’s most sought-after talents, Octavia Spencer has become a familiar fixture on both television and the silver screen.  Her critically-acclaimed performance as Minny in DreamWork’s feature film THE HELP won her the 2012 Academy Award, BAFTA Award, Golden Globe Award, SAG Award, and Broadcast Critic’s Choice Award among numerous other honors.
Octavia was most recently seen in SMASHED, an independent film which also stars Mary Elizabeth Winstead, Aaron Paul and Megan Mullally. The film premiered to rave reviews at the 2012 Sundance Film Festival. This year, she will star in Diablo Cody’s PARADISE alongside Russell Brand and Julianne Hough and the action-adventure SNOWPIERCER with Tilda Swinton and Chris Evans.
Octavia’s acting career began with her big screen debut in 1995 in Joel Schumacher’s A TIME TO KILL, opposite Sandra Bullock.  Since that time, she has built a diverse and impressive resume and in 2009 was lauded by Entertainment Weekly for her comedic timing when she was named to their esteemed “25 Funniest Actresses in Hollywood” list.
In 2009, Octavia directed and produced a short film entitled THE CAPTAIN, which was a finalist for the coveted Poetry Foundation Prize at the Chicago International Children’s Film Festival.
Octavia is a native of Montgomery, Alabama and holds a BS in Liberal Arts from Auburn University.  She currently resides in Los Angeles.


kevin duranKEVIN DURAND – Officer Caruso
Canadian-born Kevin Durand has developed a versatile background, beginning in comedy and Broadway then transitioning into television and film, illustrating his ability to captivate a wide range of audiences. Durand was nominated for a 2012 Genie Award for his performance in IFC Films’ EDWIN BOYD.  In 2009, he was nominated for a Saturn Award for his recurring character, Martin Keamy, on the popular series LOST. Durand can be seen in David Cronenberg’s COSMOPOLIS opposite Robert Pattinson, Screen Gems’ RESIDENT EVIL: RETRIBUTION, the independent feature THE TRUTH opposite Andy Garcia and Forest Whitaker and in EDWIN BOYD alongside Scott Speedman.  Most recently, Durand completed production on Darren Aronofsky’s NOAH for Paramount and New Regency alongside Russell Crowe and Anthony Hopkins. Before his film career, Durand was voted one of Canada’s funniest new comedians.  In addition, he originated the role of Injun Joe in THE ADVENTURES OF TOM SAWYER on Broadway.



Actor and author, Chad Michael Murray, has showcased his brooding good looks and talents on television sets and silver screens for over a decade.  He has been a teen heartthrob on pop culture classics with roles on DAWSON’S CREEK, GILMORE GIRLS, and ONE TREE HILL, and his film credits include FREAKY FRIDAY, A CINDERELLA STORY, and HOUSE OF WAX. Chad also recently starred in Lionsgate’s THE HAUNTING IN CONNECTICUT 2: GHOSTS OF GEORGIA, the second film based on the popular three-part horror book series. Coming up, he will appear in the comedy CAVEMEN and Tyler Perry’s newest, A MADEA CHRISTMAS.  Recently delving into the comic con convention world for his first graphic novel, Everlast, Chad is quickly conquering the art of hyphening: television actor-film actor- director-graphic novelist-author.  Chad can also be seen in an arc on the TNT series SOUTHLAND, as Officer Dave Mendoza.





RYAN COOGLER – Director and Writer
Ryan Coogler is a 26 year-old filmmaker from the East Bay Area, California who has been making movies for five years. His feature length screenplay FRUITVALE, based on the 2009 BART police shooting of Oscar Grant, was selected for the 2012 Sundance January Screenwriter’s Lab. In 2011 his student short film FIG, which followed a young street prostitute’s fight to keep her daughter safe, won the Director’s Guild of America Student Filmmaker Award, as well as the 2011 HBO Short Filmmaker Award. FIG was broadcast on HBO. Coogler still lives in the Bay Area where in addition to making films, he works as a counselor at Juvenile Hall in San Francisco. He earned his MFA in Film and Television Production at the University of Southern California in May 2011.




Forest Whitaker is a talented, versatile performer and one of Hollywood’s most accomplished figures. He has received prestigious artistic distinctions including the 2007 Academy Award® for Best Actor for his performance in THE LAST KING OF SCOTLAND as Ugandan dictator Idi Amin. He has also received the BAFTA Award, SAG Award, and Golden Globe® for Best Actor. In addition, Mr. Whitaker received the Best Actor for BIRD at the Cannes Film Festival.
Whitaker’s social awareness has compelled him to seek ways of using the film medium as a means to raise peoples’ consciousness. He produced the award-winning documentary KASSIM THE DREAM, which tells the poignant story of a Ugandan child soldier turned world championship boxer, RISING FROM ASHES, which profiles Genocide survivors of the Rwandan war who have risen from wooden bicycles to competing in the Olympics, SERVING LIFE, which focuses on hospice care for prisoners at Louisiana’s Angola Prison, and the Emmy nominated and Peabody Award-winning BRICK CITY, which takes a look at inner-city life in Newark, New Jersey.
In 2007, Whitaker received the Cinema for Peace Award for his selfless and ongoing advocacy for child soldiers, as well as his work with inner-city youth. He was also awarded the Humanitas Prize in 2001. In 2008, he served as a member of the Urban Policy Committee and currently sits on the board of the President’s Committee on the Arts and the Humanities (PCAH). Whitaker serves as a Senior Research Scholar at Rutgers University, and a Visiting Professor at Ringling College of Art and Design. In 2011, Whitaker was sworn in as a UNESCO Goodwill Ambassador for Peace and Reconciliation. In this role, he works towards global peace building through anti-violent education, research, training and community building.

FRUITVALE title Orange on Black

This award-winning film hits UK cinemas from 6th June 2014
read the synopsis and watch the trailer here
follow @fruitvalemovie on twitter
see a list of nation-wide cinemas on the special facebook page


Fruitvale Station Finally Hits UK Cinemas


The UK’s leading promoter of urban cinema
in association with new UK distributor Altitude Films
presents the UK release of the multi award-winning film.

FRUITVALE title Orange on Black

Quad_Fruitvale-Station_loreThis poignant award-winning film hits UK cinemas from 6th June 2014

The multiple Independent Spirit Award, Cannes and Sundance Film Festival winning film follows the true story of Oscar Grant (Michael B. Jordan), a 22-year-old Oakland, California resident who wakes up on the morning of December 31, 2008 and feels something in the air.

Not sure what it is, he takes it as a sign to get a head start on his resolutions: being a better son to his mother (Octavia Spencer), being a better partner to his girlfriend Sophina (Melonie Diaz),  and being a better father to Tatiana (Ariana Neal), their beautiful four year-old daughter.

Crossing paths with friends, family, and strangers, Oscar starts out well, but as the day goes on he realises that change is not going to come easily. As he and Sophina celebrate the New Year and a fresh start, one truly shocking, tragedy shakes his community – and the entire United States — to its very core.


 Director Ryan Coogler

Produced by Forest Whitaker

Featuring rising star
Michael B Jordan
Academy Award Winner
Octavia Spencer

FRUITVALE STATION is one of this summer’s must see movies.
For more details stay tuned to KUSH FILM

see the full cast list here
read an inteview with the film’s director here
follow @fruitvalemovie on twitter
for a list of nationwide cinemas check the special facebook page