Khalik Allah has built up a distinct style over a number of short films and now a couple of feature films — lyrical imagery of people at the bottom of the power structure, previously the down and out denizens of NYC street corners (of his early shorts and first feature), as well as the inhabitants of Jamaica in his most recent feature Black Mother and an earlier short. His filmmaking seems to have predated his photography, but having taken up the latter form, it has become integral to his vision as a filmmaker, it appears. Sound and image, in particular, are usually rendered separately in his films, often working together but sometimes juxtaposed to make points that photography itself cannot always do so successfully. His art feels particularly masculine, though even in the gritty urban portraits there’s a softness to his approach, an empathy so often lacking in such environments. He has also notably contributed to Beyoncé’s film Lemonade as a cinematographer. A number of his short films are available on YouTube, which is where I watched many of them and hence I’m fitting this post into my seen-on-YouTube themed week.
There are, of course, many ways for a film to be musical. As a genre, the musical is a narrative form with singing (and often dancing), but then there are films that deal at a more basic level with the performance of music itself. Some of these (such as concert films) are easy to separate, but the music video can be a form of narrative expression, and several artists have in recent years extended this form to feature length, not least Beyoncé in her solo work. In many ways, her ‘visual album’ Lemonade is a narrative, and certainly the film that accompanied its release has a structure that uses poetic voiceover to link what might be considered discrete music videos into something approaching a cohesive whole. She followed this with a tour that Homecoming ostensibly documents, although it also presents the performances in extensive chunks.
I feel like I could do that thing of saying what this hour-long visual poem/musical album reminds me of — because there are clearly visual and cinematic cues here — but I don’t really feel equal to that at all. Instead, I’ll observe that to me Lemonade feels both intensely personal (it has two key credited directors in Beyoncé and Kahlil Joseph, alongside many co-directors, but this is an auteur work by Beyoncé more than anyone else) as well as being something of a catalogue of Black visual representations in many styles, from many eras and in many places. In the sense of it being personal, I mean not that it’s a capital-S Statement by Beyoncé about her own life (it may be, but that’s not really what makes it interesting to me), so much as an engagement with a history and dynamic of representation, racism, misogyny, artistic heritage, motherhood, feminism, et al., as refracted through her own personality and shared experiences. I’m probably not really putting this very well, so maybe I should say instead that I think it’s thrilling and wonderful, poetic in style (and interspersed with literal poetry), densely elliptical in its thematics (but maybe that’s just because it’s not aimed at me). It’s not a collection of music videos; it’s a film. And it’s wonderful.
Directors Beyoncé [as “Beyoncé Knowles-Carter”], Kahlil Joseph, Melina Matsoukas, Dikayl Rimmasch, Mark Romanek, Todd Tourso and Jonas Åkerlund; Writers Beyoncé and Warsan Shire; Cinematographers Khalik Allah, Pär Ekberg, Santiago Gonzalez, Chayse Irvin, Reed Morano, Dikayl Rimmasch and Malik Sayeed; Starring Beyoncé; Length 65 minutes.
Seen at home (download), London, Wednesday 27 April 2016 and Sunday 8 May 2016.
Homecoming: A Film by Beyoncé (2019)
A record of Beyoncé’s two headline Coachella performances in 2018, interwoven with voices and quotes from prominent Black intellectuals and artists, and backstage snippets of the huge amount of preparation and training that went into this event. Clearly Beyoncé is drawing on a huge range of influences, not least the energetic dancers and musicians of historically black colleges and universities of the American South, hence the Greek letters in the title, and the design of the logo prominently displayed on the performers’ clothing — as, after all, Beyoncé here seems to be creating her own sorority (Beta Delta Kappa) for this ‘homecoming’ to the stage of an historically white-dominated music festival.
Her huge phalanx of talented performers are largely seen on the pyramidal stage which forms the foundation of the whole spectacle — and I’d say it looks cool, which it undoubtedly is, but it’s likely there’s some deeper significance there as well, perhaps a hint at the masonic origins of the (historically white, and usually fairly exclusionary) Greek-lettered fraternities and sororities, or a nod towards her Egyptian forebears as a gesture towards an almost imperial dominion. After all, she also has huge lit-up letters forming the word DIVA, which are illuminated only for a very short period while she’s singing that song, and suggest a playful self-critique while also very clearly being a loud signal that no one should be messing with her.
There are all these kinds of things, a dense network of allusions and references, running through her performance, and it would be beyond me to try and understand (or even list) them all, but needless to say, it’s a glorious and sustaining piece of work.
Director/Writer Beyoncé [as “Beyoncé Knowles-Carter”]; Cinematographers Mark Ritchie; Starring Beyoncé; Length 137 minutes.
Seen at home (Netflix streaming), London, Thursday 18 April 2019.