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| Filmmaker Tanya Hamilton |
In past Director Spotlight features, we’ve highlighted women with extensive filmographies and those who have been nominated for or who have won an Academy Award for directing. Today’s Spotlight, however, looks at a woman who has made only one feature film:
Tanya Hamilton.
When I saw the film, it resonated with me as well. As a white woman, I wasn’t necessarily seeing a reflection of myself, but I was looking at a story that is–or at least should be–reflective of all of us. While the heart of the story is about relationships–between a mother and her daughter and between a woman and a man–and the roles we play in our communities, the context is a piece of U.S. history often glossed over, mischaracterized, or completely ignored. This is black history, and it’s also U.S. history–something Americans all share, something that is part of all of us.
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Hamilton was born in Jamaica and grew up in Maryland. Before
Night Catches Us, she wrote and directed the short film
The Killers.
The Root asked Hamilton “What are your feelings about the challenges that black female directors face?” and she responded:
There aren’t a lot of black women making movies, which I find interesting in a way. I’ve blindly not really thought of it. I’m race obsessed, and that has been the lens through which I walk through the world. Making the film has made me think about my gender in a way I had previously not bothered [to]. Film is a very male-dominated world, and those positions are very protected. I think it’s interesting in terms of what gets defined as a woman’s film as opposed to a regular film. I haven’t figured it out yet. I don’t have a theory — at least not a smart one.
The Washington Post printed
a great profile of Hamilton in December ’10, as
Night was playing–in limited release–in theatres. When
Night was playing at Sundance, she told
indieWIRE about two upcoming projects she hopes to work on:
One is a thriller/love story set in Jamaica during a violent election. The other is a film about two brothers in fledgling Native American tribe building their first casino and confronting the unforgiving world of D.C. politics to achieve their goal.
If her writing and directing feature debut was this strong, I think (hope) we can expect some truly stellar work from Tanya Hamilton.
In addition to an intelligent and emotional look at race, politics, and history,
Night is an amazing film–excellent story, acting (it stars
Kerry Washington and
Anthony Mackie), and directing. After watching it (twice) I strongly felt that
Night is an Oscar-worthy film, and that it’s a shame it wasn’t even a contender. Here is the synopsis, from indieWIRE:
In the summer of ’76, as President Jimmy Carter pledges to give government back to the people, tensions run high in a working-class Philadelphia neighborhood where the Black Panthers once flourished. When Marcus returns—having bolted years earlier—his homecoming isn’t exactly met with fanfare. His former movement brothers blame him for an unspeakable betrayal. Only his best friend’s widow, Patricia, appreciates Marcus’s predicament, which both unites and paralyzes them. As Patricia’s daughter compels the two comrades to confront their past, history repeats itself in dangerous ways.
Although the film remained under the radar for a lot of people, it was critically acclaimed.
Night Catches Us was nominated for a number of awards, winning five Black Reel Awards–for acting, score, screenplay, and best film.
Refusing to romanticize Black Power, Hamilton chooses the riskier path of examining its emotional and political fallout. The bullet holes and bloodstains that Iris uncovers after peeling away a strip of wallpaper at home suggest that her father died not as a martyr for the cause but as yet another senseless casualty in an endless conflict, with police harassment of African-Americans by the nearly all-white Philly force still continuing in ’76. Jimmy’s parroting of black macho, in turn, leads only to more spilled blood.
Hamilton doesn’t rush to supply answers. She lets her mesmerizing movie sneak up on you and seep in until you feel it in your bones. The fact that Hamilton studied painting at Cooper Union helps the images resonate, as does the haunting lighting supplied by cinematographer David Tumblety. Add a terrific score supplied by the Roots and the movie has you in its grip. Mackie and Washington could not be better; they had me at hello. Night Catches Us is essentially a ghost story, with the past persistently intruding on the present. Hamilton manifests her vision of what politics can do to individual thinking with subtlety and sophistication. Remember her name. She’s a genuine find.
If you missed Loren’s earlier post, watch the preview here:
Have you seen Night Catches Us? What do you think? Anyone know further news on Hamilton’s next project(s)?
, in a piece titled 
