DC native filmmaker tackles Northeast gentrification in ‘Residue’ on Netflix

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DC native filmmaker tackles Northeast gentrification in ‘Residue’ on Netflix

Gentrification has dramatically remodeled elements of D.C. over the previous decade. Filmmaker Merawi Gerima explores the modifications within the movie “Residue.”

WTOP’s Jason Fraley salutes ‘Residue’ (Half 1)

Gentrification has dramatically remodeled elements of D.C. over the previous decade.

Filmmaker Merawi Gerima explores the modifications within the movie “Residue” on Netflix, having grown up in Northeast off North Capitol Road and Florida Avenue within the Eckington neighborhood, which is now quickly being redeveloped and rebranded as NoMa.

“Literally like everybody in the credits is from out here [in Northeast D.C.],” Gerima advised WTOP. “Hella people have been like tagging me with just shots of the credits like, ‘Oh! I didn’t even know I was gonna be in the credits! I’m on Netflix!’ It’s been cool.”

The movie follows the story of a younger indie filmmaker named Jay, who returns house to D.C. after a few years away to put in writing a script about his childhood, solely to seek out his former neighborhood unrecognizable and most of his childhood buddies scattered to the wind.

“The neighborhood has changed beyond his recognition,” Gerima mentioned. “Also, the folks he grew up with [are] scattered left and right, so he’s trying to try to track them down and kind of figure out his own place in this new, glittering city.”

The story follows Gerima’s personal emotions after getting back from USC movie college.

“The changes that had happened in one year was drastic,” Gerima mentioned. “When you’re in the thick of it you notice the changes, but it’s just not all at once. Going away for a year and coming back, it was like a time warp. I felt like I just dropped into the city from the future where half of my storyline, half my community was not brought along.”

His major purpose was to visually doc no matter remained.

“To document all of that, put that all on paper, to future-proof it … to get it all committed to some type of archive before the rest of the destruction,” Gerima mentioned. “If you go back to the places where we shot … a lot of places are not there. [The city becomes] a flailing, groaning, creaking, angry character. Capturing its demise on camera is crazy.”

Thus, he makes use of a gritty directing fashion quite than a sophisticated shine.

“Our primary camera was an Arri Alexa,” Gerima mentioned. “We start off with footage from a Nikon D500 and iPhone. [Other] footage is DSLR. There’s a lot of 8 mm footage. The way we use it to this collage effect … jumping around, dirtying up the image, different resolutions and frame rates, … pushing in hella hella hella just to bring the grain out.”

Likewise, the story is extra character-driven than plot-driven.

“It came out organically,” Gerima mentioned. “The whole point is that you’re experiencing the film as Jay, so it’s like super close as if the camera is on his shoulder literally. The sound design as well, everything comes together to give you an idea of his interiority.”

It was a visit casting somebody to play himself, however Obinna Nwachukwu nailed it.

“He’s a super interesting brother,” Gerima mentioned. “He’s quiet, but he’s a chameleon. I saw him like watching me at times when I’m directing other people and stuff. … He would ask me, ‘Do you say something like this?’ … We got to a point where we were just, ‘How much of me and how much of you is going into this character?’”

The outcome received the Viewers Award at this yr’s Slamdance Movie Competition, the place it caught the eye of Ava DuVernay (“Selma,” “13th,” “When They See Us”).

“They came to the Slamdance premiere,” Gerima mentioned. “They were really pleased by the film, but also particularly the audience’s reaction. … We’ve been talking since then [and] Venice was a joint venture between us. … If you look at Ava and what they’re doing … they’re trailblazers in the arena of Black film production and distribution.”

Gerima additionally realized a factor or two from his circle of relatives historical past. His Ethiopian father Haile Gerima and American mom Shirikiana Aina collaborated on the Golden Bear nominee “Sankofa” (1993) as members of the proverbial L.A. Movie Insurrection.

“Both of my parents are incredible Black independent filmmakers,” Gerima mentioned. “My dad graduated from UCLA. He had two feature films under his belt when he graduated, one at Cannes, ‘Harvest: 3,000 Years,’ and one film ‘Bush Mama,’ which was his thesis film. … So for me, it’s just a personal challenge, because I knew what was possible.”

What recommendation does he have for different aspiring filmmakers within the D.C. space?

“Film school is a lot of times the thing that holds us back because it puts these ideas into our minds of how much money we need to make a movie,” Gerima mentioned. “When people ask me if film school was worth it: Hell no. I learned a lot, but at the same time, it wasn’t worth $250,000 of debt. … The best film school I had was making a movie.”

Take heed to our full dialog right here.

WTOP’s Jason Fraley salutes ‘Residue’ (Half 2)

Filmy Online

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