As a good rule of thumb, assume that whatever filmmaker Gina Prince-Bythewood is doing now will become common industry practice within five years.
Her films have always served as a beacon of quiet yet radical corrective energy pointing towards a cinema that practices the virtues it so frequently signals.
The world is only just now catching up to Prince-Bythewood’s level of discourse around how Black women in culture are turned into sexual props by white boardroom decision-makers in 2014’s “Beyond the Lights.” Her debut feature, “Love & Basketball,” captures subtle gradients of race and gender dynamics in a way that romantic films still struggle to understand two decades later.
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