I guess the crux of this piece was to expose the fact that Hollywood only invests in stories that carry enough weight to reshape the box office, which means the themes have to be topical, and even better — fit in with the times.
Bieglow is a gifted filmmaker and her films are testimony to that — and I’m sure her latest continues that trend — however, my gripe is about how films like Detroit while detailing the truth about Blacks in America — also exposes why these types of themes are suddenly gaining momentum.
The industry capitalizes on whatever will sell theater seats in record time and they are motivated by the assurance of that. When you have non-Black people eagerly producing another tale of Black pain — there is a certain arrogance that seeps in — at least for me — because the project isn’t a passionate endeavor — it’s really a business deal that could reap major returns.
Filmmakers have the right to create whatever they want and I have the right to question their motives as a cautious consumer.
My first question to the batch with a big appetite for racially-motivated fare would be: “Why now?”