Tag Archives: kush

The Kush Film Boutique Is Back After 2 Years Away on 24 September

Marlon Palmer
13.08.15

KUSH_LOGO

 

Yes we are back!
It has been two full years since we ended Film Boutique screenings and we are more than ready to hit the streets again and carry the torch; once again lighting up the path for the development and progression of urban films.

Formerly known as the Kush Film Cub and launched in 1998 to create a platform for independent black filmmakers the film club has gone on to screen over 200 films, many of which were UK premiere’s or exclusive film screenings – Kush Film Club members were some of the first in the UK to see films like: The Players Club, Crash, Romeo Must Die, Me, Myself & Irene, Coach Carter, The Original Kings Of Comedy, Ray, Four Brothers, Hustle & Flow, Baggage Claim and many more.

Members were also introduced to a plethora of new indie filmmakers and their short films which was screened before the main feature thus introducing the world of independent filmmaking and local talent to new audiences.

Kush has also played a part in highlighting various social causes and community development using film as a tool to organise numerous community events along with training courses aimed at highlighting and combating Gun & Knife Crime, Youth Development, Drug Addiction and Community Cohesion.

One of the elements of the Film Boutique this time around will be the superb networking opportunity before the evening’s films, our aim is to bring progressive forward-thinking media personnel, entrepreneurs, community leaders and of course filmmakers together on a regular basic to ponder on and conspire for progressive change thus creating new opportunities for all.

Kush: Making a Difference in the Community since 1998!

 

COME AND JOIN US ON OUR JOURNEY AND THE RELAUNCH OF THE RENOWNED
KUSH FILM BOUTIQUE.

 3-1-2-Minutes-quad

Kush Films is proud to announce the relaunch of the ‘Film Boutique’ at one of the oldest & prestigious cinemas in London the Regent Street Cinema with a UK exclusive screening of the powerful and poignant documentary film 3 ½ Minutes, 10 Bullets a film specifically chosen for these troubled times. #BlackLivesMatter

There will be great networking & press opportunities prior to the film plus a special guest panel discussion after the film with invited guest speakers from the fields of: Media, Music, Legal, Community & Politics., discussing the US Stand Your Ground Laws, young black men and rap music today, fear of young black men, black lives matter campaigns, deaths in UK police custody and the ongoing Mark Duggan police shooting case.

After film discussion facilitated by partners Choices Consortium.

Special Guest Host: actress Ms Ellen Thomas (Eastenders, Rev, Teachers) – tbc
ellenthomas

Date: Thurs 24th September 2015
Event starts: 7.00pm – Networking and Press

Film Starts: 8.25pm – 10.00pm

Panel Discussion: Fear of the young black male?: 10.00pm – 11.00pm

Invited Guest speakers: Stafford Scott (Race Advocacy Officer), Gwenton Sloley (Author, Youth Policy Adviser), Jon Hughes (Editor of Nigerian Watch Newspaper), Koby Hagan aka Post (CEO of Grmdaily.com), Christian Weaver (Young Social Commentator).

 

Tickets: £15 (*All tickets purchased through the Regent Street Cinema)
Book Here: http://www.regentstreetcinema.com/programme/3-12-minutes-ten-bullets/

More info on the film here:

Venue: Regent Street Cinema, 309 Regent Street, London, W1B 2UW
www.regentstreetcinema.com
Tel: 0207 911 5050

If you’re looking for nearby parking, try Q-Park, just 2 minutes’ walk away under Cavendish Square Gardens.

Also supported by: The Association of Black Probation Officers, Operation Black Vote (OBV) & The Voice Newspaper

Choices_logoABPO_LogoThe-Voice-Logo
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For more information on the film & further screenings please contact:
Kush Promotions & PR
Tel: 0208 618 2204 or 0203 070 3200
Email: info@kushfilms.com

For more info on our new partner organisation and the wider community work that they do
See: www.choicesconsortium.org

The official film website: http://www.3andahalfminutes.com/3.5MINUTES---Lucia_McBath

Fruitvale Station Finally Hits UK Cinemas

KUSH PROMOTIONS & PR

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.

Title_AW_FruitvaleStation_C

 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

The Butler: Michael Dequina Film Review

TheButler_youngLadServes

Written by Michael Dequina © 2013

Upon the most brief and superficial of glances, it’s easy, if not somewhat understandable, to approach Lee Daniels’ The Butler with some trepidation.

After all, history be damned, another high profile Hollywood film about African-Americans doing domestic service work?  But to dismiss the film off hand is to not give director Daniels and screenwriter Danny Strong their proper due for the value of the story they tell–and not necessarily speaking in terms of its notable fact-based story: that of a White House butler who served under seven presidents from the 1950s to the 1980s.

The fact that said butler, here in fictionalized form named Cecil Gaines (played for most of the movie by Forest Whitaker, with a strong assist from Michael Rainey Jr. and Aml Ameen as younger incarnations), was a witness to such revolutionary eras of socio-political change, particularly for African-Americans, in such close proximity to the nation’s commanders-in-chief is indeed remarkable.  However, for all the monumental signpost events touched on and recognizable actors taking on the roles of various iconic figures (such as, for a start, Robin Williams, James Marsden, Liev Schreiber, John Cusack, and Alan Rickman are seen as Presidents Eisenhower, Kennedy, Johnson, Nixon, and Reagan, respectively; Nelsan Ellis as Martin Luther King; Jane Fonda as Nancy Reagan), what ultimately registers and resonates most strongly is *not* the film’s brisk and showy tour of 20th Century American history, particularly in terms of racial politics.

Where Daniels and Strong truly engage is in the uncommonly seen story and experience of a late-in-life self-actualization, following the intimate, gradual internal journey as Cecil slowly, inevitably grows away and out from the comfortable silence of servitude to an awakening and awareness of his own value, place, and identity as an individual in the world and, above all else, within his own family.   But this is all painted in a more complex way than merely an arc of a silent bystander discovering his voice and strength.  Rather, it’s one in allowing his strength to develop and evolve with the times; one witnesses how adopting such an outwardly passive role from an early age was a necessary and rather brave survival tactic in the era of his youth, especially after witnessing the brutal loss of his father (a briefly seen but effective David Banner) as a child; and as times progress, so do prevailing attitudes shift from one of remaining in sheltered safety to daring to take the risk of proactive self-expression.

Serving as both a counterpoint and unexpected complement to Cecil’s journey is the rising political consciousness of his eldest son Louis (a terrific David Oyelowo).  His more militant trajectory naturally causes conflict within the more traditional values of Gaines household, but if Cecil is able to ultimately take from his son inspiration to be more assertive, Louis learns from his father’s example that one can still fight the existing power without compromising his own by being constructive rather than destructive.

As Cecil’s loyal but often neglected wife Gloria, Oprah Winfrey reminds that not for nothing did she first win major widespread attention as an actress, and her natural empathy that has made her such a multimedia phenomenon over the decade’s works to her advantage in this return to the screen.   If some of her darker struggles, such as her oft-mentioned but only momentarily seen struggles with alcohol, are somewhat glossed over, Winfrey effortlessly connects the viewer to those ups and downs.  But no one connects as strongly, powerfully as Whitaker. Cecil is a deceptively simple and exceedingly difficult part to pull off, what with his relatively few words and placid inaction for most of the film; but appropriately for a film that follows a lead character whose largely a witness, Whitaker’s ever-observing, ever-expressive eyes tell the tale of how he actively processes, thinks, and feels even if outwardly he may appear as nothing more, as his job requires, than a virtually invisible bystander.

Daniels’s measured, deceptively unadorned direction works in a similar fashion.  Far removed from the brash, in-your-face, go-for-broke approach that has largely characterized the films he’s thus far either directed or  produced, he exhibits a mature restraint not only in terms of his own body of work but in terms of decades-spanning historical films, with broader melodrama often sidestepped in favour of a more straightforward,  matter-of-fact depiction.  If, as the film bounces from historical event to historical event, this may feel somewhat routine as a moment-to-moment to viewing experience, it effectively places the viewer squarely in Cecil’s literal and figurative vantage point–not only as a fly-on-the-wall observer to the stream of events, but also how the effect of the experiences build to a far-from-routine cumulative catharsis that one could not so easily foresee. Much like the butler by the end of his film journey, a still, silent viewing audience is moved, perhaps to a surprising degree, by the totality of the entire experience, and maybe even enlightened and inspired by discoveries not so much about the world than what the events of it illuminate about oneself.

Michael Dequina
The Movie Report: http://themoviereport.com


The Butler is in UK Cinemas Now
More info Here

Academy Conversations: The Cast & Director of The Butler in Conversation