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“It is so complicated to talk about my mom, but she is where my strength comes from. My mother had me when she was sixteen years old, and she was an orphan by the time she was ten. She was the first person to ever love me completely and the first person to ever reject me wholly. We grew up together, so much so that people thought we were brother and sister.”

This is what writer/director Elegance Bratton told me during our recent interview about his achingly personal debut feature, “ The Inspection ,” which is based on his own experience of discovering his inner strength while serving in the Marine Corps. His sense of worthlessness was instilled in him by his mother, who rejected him after learning he was gay, yet that betrayal did not stop Bratton from loving her or wanting to mend their relationship. He knew that it was the strength she harnessed to bring him into the world and care for him, despite all the odds stacked against her, that fueled his endurance in his journey toward self-acceptance.  

His story echoes that of George Anthony Morton , the subject of Rosa Ruth Boesten ’s haunting HBO documentary, “Master of Light,” who details how his mother had him at the mere age of fifteen and was like a sister to him. She only knew how to provide for her child by selling drugs, a lifestyle that resulted in George being locked away for over 11 years in federal prison, and robbed of the entirety of his twenties for possessing two ounces of crack cocaine. Only years after his release do his siblings inform him that his mother may have set him up to serve time. It’s the sort of betrayal that other films would select as its chief focus, but “Master of Light” is about the rebuilding of a life rather than the destruction of one. As Morton instructs his young nephew, “I am not what has happened to me, but what I choose to become.”

Just as Bratton funneled his pain into his artistry, Morton spent his years behind bars honing his craft as an extraordinary painter in the tradition of his artistic inspiration, Rembrandt. The film itself is gorgeously lensed by Jurgen Lisse , who plays with the duality of light and darkness expressed throughout both the work and personal struggles of Morton, as he straddles the line between occupying the art world and the impoverished existence of his mother. Yet Boesten and her editor Ephraim Kirkwood also structure the film like a portrait that only gradually reveals itself as each detail is added to the canvas.  

Aside from a couple of title cards specifying locations such as Morton’s birthplace of Kansas City, Missouri, the film never places onscreen the names of Morton’s family members or specifies their relationship to one another, leaving us to rely on our listening skills to complete the family tree. By the film’s final moments, we feel as if we have reached a clearer understanding of each person from Morton’s life that he has chosen to paint, including his devoted partner Ashley, whose upbringing was entirely different from Morton’s, which occasionally causes friction between them as she warns him against aiding his self-destructive mother.

The film’s co-producer, Roger Ross Williams , directed one of the most astonishing films I’ve seen about the transformative power of art, 2016’s “Life Animated,” which explores how Disney films helped an autistic man connect with the surrounding world that had once seemed out of reach. “Master of Light” is every bit as profound and insightful in illuminating how painting has had a therapeutic role in Morton’s life, enabling him to grapple with his anger at a system designed to entrap people in his situation. His stated aim is to carry into the future artistic traditions that “people of African descent have not had a dignified part in” over the past centuries.  

There’s a striking 360-degree pan around Morton walking through an art museum as he finds himself surrounded by the framed faces of Caucasians. He compares his experience of finding himself shackled up in Oklahoma to being on an auction block as his prison was selected for him. Many of the film’s most moving moments center on Morton’s interactions with his nephew, who expresses his fear in light of the horrific murders of Black people at the hands of police that fueled the Black Lives Matter movement. Morton argues that it is, in fact, white perpetrators such as these who fear the giant within people like his nephew who has now woken up, and it’s wonderful to see the budding young artist penning rap songs as a way of tackling his demons.    

As I watched Boesten’s film, I kept being reminded of what Bratton had to say to me about finding strength in forgiveness. “ If I had held onto everything that happened, I wouldn’t be here,” he told me. “I would be upset somewhere in a bar, mad at the world.” I imagine Morton feels the same way, and indeed, there is a moment in “Master of Light” in which it appears that he is ready to sever his ties with his mother for good, enraged at her seeming efforts to halt him from succeeding in life. Yet he later tells his therapist that he ultimately wants to believe his mother, who denies her children’s accusations that she sent her son to jail in exchange for avoiding her incarceration. In many ways, this film would make a hugely rewarding double bill with Bratton’s “The Inspection,” considering how both films take an uncommonly frank and unsentimental look at how one can persevere in the face of rejection.  

“Is it not evident that there was some beauty in the ugliness of all this?” asks Morton during the film’s final moments, just before us seeing the beauty on full display upon his canvas. It is there in the face of his mother, whose own desire to love and be loved brought him to this earth and drove her refusal to let him go, even with the countless obstacles and inequities she faced daily. Boesten’s picture leaves viewers contemplating all that they have been unwilling to forgive, and all that could be achieved once that baggage has been thrust from their shoulders.

Matt Fagerholm

Matt Fagerholm is the former Literary Editor at RogerEbert.com and is a member of the Chicago Film Critics Association. 

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Film credits.

Master of Light (2022)

George Anthony Morton as Self

• Rosa Ruth Boesten
• Roger Ross Williams
• Ilja Roomans
• Anousha Nzume

Director of Photography

• Jurgen Lisse

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Master of Light: how one man went from poverty to prison to painting

In an inspiring HBO documentary, the classical painter George Anthony Morton reviews his past of hardship and incarceration

T he first images in the HBO documentary Master of Light show George Anthony Morton chopping up white powder. That crafty opening knowingly plays on our assumptions that Morton is cooking dope. A few beats later and it’s revealed that he’s actually just making paint.

Morton acknowledges the fake-out on a Zoom call. “I was preparing drugs in a similar fashion,” the ex-convict turned celebrated painter says with an ear-to-ear grin. He also praises the way the Dutch film-maker Rosa Ruth Boesten encapsulates the Kansas City native’s harrowing and inspiring journey with a few suggestive strokes.

Morton spent his entire 20s in federal penitentiaries, serving an 11-year sentence for drug charges. While locked up, he found comfort and therapy in art, honing his craft and painting striking portraits that are regularly compared to those by Rembrandt. The Dutch painter’s chiaroscuro style, playing with light and shade, becomes a visual motif in both Morton’s life and work.

In Master of Light, Morton walks through the European art space like a disruptive presence, a Black man in his camo jacket gliding through museums where no one like him adorns the walls. These are moments that pair nicely with Jay-Z and Beyoncé’s Apeshit video, in which they make the Louvre a space to celebrate their Black art.

Taking a break from those spaces, Morton brings us into intimate moments at home in Atlanta and Kansas City, as he reconnects with his family members, his five-year-old daughter in tow, painting their portraits as a way to bond while trying to heal from his hostile upbringing.

Morton, 39, is the oldest of 11 siblings, born to a mother who had him at 15. He learned the drug game from his mother and grandmother, who sold out of the home he was raised in. It was that house on the street, he says at one point in the film, where everyone went to score. He also suspects that his mother is directly responsible for his arrest when he was 19, offering him up to detectives as part of a deal to get out of her own charges.

His feelings around that betrayal are conflicted. Nevertheless, we find him early in the doc calmly trying to post bond for his mother’s most recent arrest. Throughout the documentary, Morton speaks with empathy for the people who – under trying circumstances – hurt him. He’s lucid about the systemic cycle of poverty and trauma that led him and so many other Black men into the justice system. He also makes an effort to bring light into a very dark situation.

There’s that motif, which Morton regularly brings up during our conversation. He’s slouched in a seat sitting next to Master of Light’s producer, Roger Ross Williams. Both of them are speaking from Williams’s Brooklyn office. An Emmy award and poster for Williams’s Oscar-nominated doc Life Animated decorate the background.

Morton, wearing a hoodie with multiple flannel patterns and sporting box braids, speaks with a certain mysticism about how his journey ended up on screen, as though it was all preordained. “This documentary started honestly with being born on the autumn equinox,” he says, ascribing meaning to the date when the length of day and night are exactly equal. “My birthday is equal dark and light personified.”

He continues this line of reasoning by remembering seeing a Rembrandt in a museum as a child and being inspired. After he got out of prison and began making a name for himself as an artist, an article in the Sag Harbor Express dubbed Morton “a Rembrandt from the streets”. Around the same time, he visited a psychic in New York City. He says she told him that the name Rembrandt keeps coming up among the “voices” she hears, as though he could have been the Dutch painter in a past life.

This all happened before Morton became the first Black graduate at the Florence Academy of Art , attending the school’s New Jersey campus, and went on a European tour, where he studied a few Rembrandts. During that tour, he connected with Boesten, a film-maker based out of Amsterdam who was captivated by Morton’s story and eager to make it her feature debut. She also happened to live within walking distance of Rembrandt’s house. (That psychic was working out of something Morton calls “the Namaste house” in New York, in case anyone’s wondering.)

In her own director’s notes offered to the press, Boesten acknowledges her whiteness and the privileged lens she brings to the story. That of course didn’t faze her collaborators. “She had a particularly sensitive approach,” says Williams, who jumped in to produce after seeing Boesten’s footage. He sets Boesten apart from extractive film-makers, the kind who seek out sensational stories about poverty and hardship before moving on to their next story. “She was committed,” Williams says.

At a time in the culture when there’s a push for more Black film-makers telling Black stories, Morton has a more generous but not necessarily laissez-faire attitude about it. He doesn’t believe artists should be boxed in or restricted from telling stories from other people’s backgrounds, so long as they come with the right purview.

“[Boesten] approached this with the utmost integrity,” Morton says. He adds that the film-maker and subject were joined at the hip during a long collaboration that benefited from the synchronicities between them: “Her being Dutch and me studying the Dutch masters. Her being fresh out of film school, meeting me as I was graduating art school and being able to see that magic where our artistry meet. It was very much collaborative and an apprenticeship for both of us. She would help me with my paintings, and I would help her in turn. We learned that way.”

The opening credits describe Master of Light as “a film by Rosa Ruth Boesten and George Anthony Morton”, an acknowledgment that is relatively unseen in a documentary. That gives Morton, as a subject, some ownership over the film, as though it too were a self-portrait, like the one he’s painting during the credits. Boesten makes the film an extension of Morton’s art, relying on natural light, searching for deep contrasts, framing subjects according to his portraiture and becoming part of his path to healing.

That marriage between Boesten and Morton’s art comes together powerfully in two moments. The first is when Morton is tending to his younger brother’s wounds after a knife attack. A soft healing light comes in from the window into the tiny apartment as Morton attentively and tenderly applies ointment to the scars across his brother’s body, which are held closed by staples. And then the brother sits for the camera to just take him in.

The second moment is when Morton finally gets his mother to sit for a portrait. Theirs has been an especially difficult relationship. Morton describes the impact she has had on him from an early age: the harsh and damaging first sights, sounds and sensations in a hostile environment that left him unable to trust most anyone. He says he now projects that mistrust on to others. That’s something he still hasn’t fully recovered from. “She still doesn’t know where I live. I have this web of protection around me,” he says.

Nevertheless, she sits reservedly for him and Morton paints a beautiful, dignified and heartfelt portrait of his mother, one that bears witness to her pain but also echoes back to something she said earlier in the film. She talks about being 15, and having Morton, her first child, because she wanted someone to love her. It’s devastating.

“All I wanted was love,” says Morton, when I bring up that moment, appearing somewhat guarded about how much he wants to say or feel regarding his mother’s words.

“The more I can work on healing that relationship and finding reconciliation with her, it impacts my relationship with others and my relationship with myself and my own internal world,” he continues. “The more we can heal that place, it makes me better when I go out in the world.”

Master of Light airs on HBO on 16 November with a UK date to be announced

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‘Master of Light’ Review: Rebuilding Through Rembrandt

The painter George Anthony Morton, who spent his 20s in prison on a drug conviction, is the subject of this documentary coming to HBO Max.

By Ben Kenigsberg

In the documentary “Master of Light,” George Anthony Morton recalls a difficult upbringing in Kansas City, Mo. “If there was a neighborhood drug house, that was where we lived,” he says. His struggling mother, Tela, had him at 15. But Morton says that he “always escaped through art” and that teachers recognized his potential and encouraged his talent.

His chance at becoming a professional artist was deferred: He spent his 20s in prison on a drug conviction . Still, he painted while incarcerated. Once released, he trained at the American branch of the Florence Academy of Art. He says he has a feeling of survivor’s guilt.

This documentary, from the Dutch filmmaker Rosa Ruth Boesten, who shares a “film by” credit with Morton, follows him as he pursues his painting career, drawing particular inspiration from Rembrandt and Egyptian art. He works at being a good father to his daughter, Nuri, and maintaining a relationship with his partner, Ashley, who, he says, wasn’t “exactly raised to be partners with someone who spent time in prison.” He attends therapy on camera. And throughout, he navigates his complicated relationship with Tela.

He wants to paint a picture of his mother, but the tension between them remains high, not least because she was involved in his arrest. The thesis of the movie — that art can be restorative and help overcome cyclical, systemic failures — might seem trite. But Morton’s devotion to his painting and his loved ones makes it difficult not to be moved.

Master of Light Not rated. Running time: 1 hour 23 minutes. Watch on HBO Max.

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‘master of light’: film review | sxsw 2022.

Winner of the fest's top non-fiction prize, Rosa Ruth Boesten's debut doc introduces George Anthony Morton, a fine artist whose career was born during a decade in prison.

By John DeFore

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Not many stories of interrupting generational poverty involve Rembrandt. But in Master of Light , Rosa Ruth Boesten introduces us to George Anthony Morton, who developed his Classical painting skills during a decade in federal prison, then built a career he hopes will help family members see a life for themselves beyond the cycle of poverty, crime and jail.

Much is left unsaid in the beautifully shot doc, which will leave inquisitive viewers wanting many more specifics on both the family front and the artistic one. But sacrificing such detail allows Boesten to develop a more intimate emotional portrait of Morton, a subject whose thoughtful self-invention is affecting practically from the first scene.

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Venue: SXSW Film Festival (Documentary Feature Competition)

Director: Rosa Ruth Boesten

Art-savvy viewers who raise an eyebrow at the film’s superlative title should put skepticism aside. The film itself doesn’t argue that this painter you’ve never heard of deserves a spot in the art-history pantheon, and in fact, we never even hear from a curator, critic or gallerist championing his work. Boesten doesn’t even bother to tell us if he’s able to make a living by painting, though it seems a very safe assumption. Instead, the beauty of that work and the seriousness with which he approaches it speak for themselves, and have taken him places his family could never have predicted.

Born to a 15 year-old girl whose mother was so continuously high she didn’t even realize her daughter was pregnant, Morton lived in a “neighborhood drug house” in Kansas City and was raised to make his living in that business. No surprise that he was busted and spent all of his twenties in federal prison. Somehow — Boesten doesn’t expect us to care how he came to art — he started making paintings in prison that were good enough they gave him leverage: Morton recalls using them, for instance, to justify a transfer to a less dangerous facility. After his release, he found his way to an art school in New York and further opportunities to study the history of painting.

Again, the movie declines to say how this happened, and how he won some perks we witness, like a chance to have Rembrandt’s The Night Watch to himself while other visitors to Amsterdam’s Rijksmuseum must jostle with tourists for a glimpse. However things happened, Morton now finds himself living in Atlanta with a partner, Ashley, whose background is entirely different from his own. He’s raising a daughter, Nuri, whose distance from Morton’s family is revealed when she asks, early on, “Daddy, do you have a mother?”

He does, and dealing with her apparently presents constant emotional challenges. It’s unclear whether Morton has been in touch with his mother and siblings since his release, or if the trips we see to Kansas City were arranged for the sake of the film. Whatever the case, their conversations are fraught, with some family members strongly hinting at financial and practical needs while giving no assurance they’re done with the drug life. Boesten pays special attention to Morton’s nephew Treshon, an at-risk 11 year-old who seems very open to the wisdom his uncle shares.

The film balances these interactions against Morton’s private efforts to assure his own well-being. We watch several sessions with his therapist, talking through his “pretty unique kind of trauma,” then see him try to convince Ashley that he’s not wrong to keep helping the mother who placed him in harm’s way.

In fact, she may have done much worse: Mid-film, we learn she may have gotten herself out of trouble by giving authorities the information that put him in prison. Boesten’s failure to follow up on this is the doc’s most unforgivable omission. Instead, she offers extra scenes of Morton painting a portrait of his mom, giving her a dignity and depth most strangers probably don’t see. As Morton continues to seek ways to apply his classical training to the depiction of Black subjects, one suspects his biography will creep more and more onto the canvas, resulting in something more impressive than a gorgeous imitation of Rembrandt van Rijn’s brushwork.

Full credits

Venue: South by Southwest Film Festival (Documentary Feature Competition) Production companies: Vulcan Productions, One Story Up Productions Director: Rosa Ruth Boesten Producers: Roger Ross Williams, Anousha Nzume, Ilja Roomans Executive Producers: Jody Allen, Ruth Johnston, Rocky Collins, Jannat Gargi, Geoff Martz Director of photography: Jurgen Lisse Editor: Ephraim Kirkwood Composer: Gary Gunn Sales: UTA

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‘Master of Light’ Review: Doc Portrait Captures the Chiaroscuro Soul of an Ex-Con Artist

The collaboration between a documentary filmmaker and painter George Anthony Morton yields an illuminating look at trauma and transformation.

By Lisa Kennedy

Lisa Kennedy

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In “ Master of Light ,” Rosa Ruth Boesten ’s superbly intimate portrait of painter George Anthony Morton , shadows matter as much as light. The documentary, which won the grand jury prize at the SXSW Film Festival, deals with Black trauma, gently acknowledging change without over-trumpeting resilience.While serving time in federal prison for selling drugs, Morton studied the works of Rembrandt and other classical painters. Unlike too many formerly incarcerated people, he found work when he was released after a 10-year stint. He painted the portrait of the Black owner of a gym, which led to more painting.

“Master of Light” makes clear that just because Morton — who lives in Atlanta with his partner and young daughter — has found his calling doesn’t mean he’s at peace. And the film toggles between Atlanta and the Kansas City neighborhood of his ruptured youth, where he returns to paint portraits of some of his family members, using the style of the Dutch Masters he so admires.

When we meet Morton, he’s got a well-earned grasp of the outrages perpetrated by systemic racism, starting with mass incarceration. As a kid, he received encouragement in school to nourish his artistic talent, but the streets called. His critique of the “setup” that keeps people like him — and those who aren’t — perpetually hustling and failing is honed, even if it strikes familiar beats at times. In an energetic exchange with a sister who lives in Kansas City, the two talk about the schooling they received in the drug trade from their mother and grandmother. “She showed me how to cook that shit,” he says of his mother.

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Boesten and cinematographer Jurgen Lisse make their own deft use of shadow and light. The documentary might have been called “The Chiaroscuro of George Anthony Morton.” There are moment when a shadow settles on Morton’s face like a cloud, like a thought darkening. Sometimes it is the latter; he has plenty of exchanges with his mother that put him in a grim mood. Other times, that shade is simply how the artist looks when sitting in front of a canvas amid painterly concentration.

In a contemplative moment, he recalls the effect of the Dutch Masters’ paintings on him. “Where’s that light coming from,” he wonders. “Why does it make me feel so alive and present?”

The light here emanates from Morton. His curiosity about art, about his place in the world after his incarceration, makes visible the darkness he’s experienced. There’s a reason we’re in the car with him as he drives to get his mother out of jail, or accompanying him around the Kansas City neighborhood of his youth or sitting in stillness as he talks with his therapist: He is our guide. The credits read “A film by Rosa Ruth Boesten & George Anthony Morton,” and “Master of Light” is a work of collaboration more than portraiture. (Also significant to the movie’s careful grace: producer and Oscar-winning documentarian Roger Ross Williams.)

The filmmaking is attentive and emotionally respectful. After a particularly volatile phone call between Morton and his mother, the camera quietly eyes Morton’s young daughter, who is standing at a remove in the hallway. There is a great deal of pain in the frame.

Conversations between Morton and his supportive partner, Ashley, occasionally grow prickly. When she says something critical about his mother’s selfishness, he shuts her down, saying she can’t know what his mother’s life has been like. Ashley did not grow up in the same devastating economic circumstances. In some sense their back-and-forth about his mother’s recurring troubles is a microcosm of the tensions around personal agency and the devastating effects of generational and communal trauma that are not carried by Black Americans equally.

Morton’s mother, who had him when she was 15, is a deeply complicated figure for him. Early in the film, he calls to ask if she saw him mentioned on a TV news program. Her disinterest is damning. Later, he learns that the story he went to prison believing about her role in his incarceration may not be the truth. That, too, is damning. They were arrested at the same time and did not see each other again for 13 years. That Morton wants to understand his mother, forgive his mother, makes for the film’s remarkably tender ache.

Many of the revealing moments in “Master of Light” aren’t about watching but about listening. Morton expresses doubt about visiting a therapist. But in their initial meeting, Morton shares that he likely has survivor’s guilt and that he’s experienced “a pretty unique form of trauma.” As their sessions deepen, Morton declares, “I want to be more light, less serious. I wonder if life has hardened me.”

A Black man with a vibe of equilibrium, the therapist gentles a young man who wasn’t brought up to seek — or trust — the profession. (Rap is our talking cure.) Therapy is “about transformation. Not about being fixed,” he tells Morton.

“Master of Light” is also about transformation. The exchanges that take place as Morton paints his mother, his romantic partner and 11-year-old nephew Treshon are their own form of working through. After Treshon recites a rap he’s written, Morton tells him, “I turn my pain into art too.”

The film concludes with Morton working on the portrait of his mother. There’s a hint of his face in hers in the not quite completed painting. The film ends with a subtle yet magnanimous gesture, making it clear Morton’s remarkable story is not yet finished — in the best possible sense.

Reviewed online, March 13, 2022. In SXSW Film Festival (Documentary Feature Competition). Running time: 83 MIN.

• Production: (Documentary) A Vulcan Prods., One Story Up Prods. presentation, in collaboration with Docmakers. Producers: Roger Ross Williams, Anousha Nzume, Ilja Roomans. Executive producers: Jody Allen, Ruth Johnston, Rocky Collins, Jannet Gargi, Geoff Martz.
• Crew: Director: Rosa Ruth Boesten. Camera: Jurgen Lisse. Editor: Ephraim Kirkwood. Music: Gary Gunn.

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‘Master of Light’ Review: Doc Is a Graceful Look at Black Classical Painter George Anthony Morton

Robert daniels.

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“Darkness is my friend.” Those sober words by Black classical painter George Anthony Morton, the introspective subject of Rosa Ruth Boesten’s harrowing and spellbinding documentary “Master of Light” — which won the Grand Jury Award for documentary feature at SXSW — refracts the film’s title from an aesthetic ethos to a way of life. It paints Morton’s present mental health struggles — the obvious and unconscious reverberations of his socio-economic environment on his past and current life — and the seemingly inescapable cycles that still crush his family.

Boesten, however, doesn’t reduce Morton’s painful history to degradation. Because you don’t measure light through its absence; you find it in the human eye. And Black folks are filled with light. Even when the world, from conception to death, distorts Black people’s worth — even during structural racism and anti-blackness — or against the ceaseless undertow of mental trauma, Black people still project radiance. Morton maps a similar radiance onto his portraits. And, in his return home to Kansas City, Missouri, to mend a broken relationship with his mother, he finds light amidst the darkness in the flickering glow of his kin’s eyes.

The soft-spoken Morton knows his talent, and knows his luck. He served a 10-year stint in federal prison for selling drugs, where he ultimately studied Rembrandt while trading his own paintings in return for transfers to less dangerous cellblocks. He later painted a gym owner, leading to more assignments. Then he studied at the Florence Academy of Art, learning in the Classical-Realist tradition through the lens of Renaissance painters. With his dedicated partner Ashley and his observant young daughter, he now calls Atlanta home. Despite his success, however, Morton can’t shake the portraits of his life that are cracked and peeling. His mother is in and out of jail. His brother was recently stabbed (TW: a gruesome survey of his wounds finds the camera observing the multiple staples used as treatment).

And yet, in Boesten’s lyrical vérité style, their stories and obstacles carry the same weight as Morton’s. Because “Master of Light” isn’t concerned with framing the painter as an Exceptional Negro, a knee-jerk gaze that would probably easily bleed into a staid hagiographic talking heads doc. It’s instead interested in the ways Morton isn’t an exception, primarily, by observing his therapy sessions. Few phrases carry as much reductiveness in describing Black life than “we rarely see,” but we truly rarely see Black folks, onscreen, participating in therapy to uncover the sources of the invisible aches that still hurt. Here Morton reflexively considers his quick-trigger anger, his survivor’s guilt, and the trauma begotten by his childhood. Though he left Kansas City long ago, did he ever really leave? And can he ever hope to escape? The processing will take time and effort, a fact not lost on Morton. But he further discovers how healing can come through holding on, particularly using his art to capture his family.

The artist possesses a deep fascination with duality. His mother can be a source of frustration, as when she asks for bond money or when he discovers she maybe gave him up for a lighter jail sentence. She can also be a wellspring of joy, seen in the lighthearted reminiscing they share. In a potent shot, when she sits for her portrait, a fractured mirror doubles her visage. Conversely, the very essence of painting allows the artist to fashion a fixed, unchanging version of the subject. The best artists, in fact, inscribe several layers of interiority behind each shade. In his mother’s portrait, the artist captures her resoluteness and her dignity. But is this iteration of his mother how Morton sees her? Or a symbol for their healing relationship?

While in Atlanta, Morton takes his 11-year old nephew under his wing in a bid to save him from venturing down a dangerous path. His nephew contemplates the tragic lineage of George Floyd, Ahmaud Arbery, Breonna Taylor, Trayvon Martin, and so forth, and likewise sits for a portrait in his hoodie. The result is an uncanny and eerie double of Martin backgrounded by an amber-colored glow. From his mother and nephew’s portraits, you get the sense their importance doesn’t solely come from their healing quality. They reflect the essence of how the world, how art, should see them.

“Master of Light” is a gentle and graceful film defined by the capriciousness of sight. Some scenes by cinematographer Jurgen Lisse wrap the subject in a chiaroscuro lighting, wherein their visibility is defined by shadows. Others are bathed in near blinding, overexposed sunlight. Each extreme only adds rather than subtracts melancholy and personhood.

Despite its 84-minute length, Boesten and editor Ephraim Kirkwood are never in a rush. Instead, they keep a meditative pace. They further trust their audience by never employing title cards to introduce individuals, instead relying on viewers to be fully engaged. Long scenes take place in Morton’s car as he drives around his neighborhood, past the empty lots and graffiti-stained theater, with his cruising as a visual totem of his internal search for peace. An intermittent asynchronous narration stitches juxtaposing moods and tones together, giving his acute reflections a poetic and pensive quality. And his young daughter is never out of sight. She constantly observes both the highs and lows of her father and his family, without judgment, but still with a subliminal recognition of what’s in front of her.

The film considers the shifting definitions of success, opportunity, and responsibility. What real chance do you have when the deck is so often stacked against you? In a telling conversation between Morton and his partner, Ashley, she wonders aloud why Morton so often excuses his mother’s continued mistakes. She’s grown; doesn’t she carry the blame for not escaping her cycle? At a later cookout, gunshots ring out with the spatter of fireworks. At another time, Morton and sister brazenly talk about how their mother showed them how to take drugs. In another place, Morton’s mother resigns herself to find a service job for some quick cash. When Morton opines that she should wait, she explains how she can’t: She has bills. And the cycle begins again.

Morton knows a painting alone can’t break decades of systematic oppression, but it can help to understand and process them. In doing so, “Master of Light” becomes not only a salute to Morton’s journey but a keen acknowledgment of the sharp twists and wrong turns that can make the road back so much harder to see.

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Master of Light Reviews

Boesten has a delicate touch as she explores socio-economic realities, inescapable cycles of trauma, and mental health through the lens of Morton’s life and art.

Full Review | Feb 13, 2024

There’s hard-won power when Morton instructs his young nephew to write, “I am not what has happened to me; I am what I choose to become.”

Full Review | Dec 5, 2022

This quietly moving movie examines how the right opportunities or the wrong expectations can make all the difference in who a person becomes.

Full Review | Nov 18, 2022

Although Boesten stresses intimacy, she also isn’t afraid to follow the logic of George’s story into larger topical areas; the film becomes a pointed criticism of systemic racism in America...

Boesten’s picture leaves viewers contemplating all that they have been unwilling to forgive, and all that could be achieved once that baggage has been thrust from their shoulders.

Full Review | Original Score: 3.5/4 | Nov 17, 2022

“Master Of Light” carefully handles its heavy subject matter. Affirming the power of art, rehabilitation, and compassion at a time when they seem under heavy attack.

Full Review | Original Score: B+ | Nov 17, 2022

As local news goes, it’s a producer’s dream. As documentary film fodder, it’s not bad either.

Full Review | Nov 16, 2022

The thesis of the movie — that art can be restorative and help overcome cyclical, systemic failures — might seem trite. But Morton’s devotion to his painting and his loved ones makes it difficult not to be moved.

Full Review | Nov 15, 2022

The documentary Master of Light chronicles the remarkable story of George Anthony Morton, an immensely gifted painter who grew up in extreme poverty in Kansas City, Missouri.

Full Review | May 22, 2022

A poignant documentary that offers something to everyone of any generation.

Full Review | Original Score: 8.5/10 | May 3, 2022

It is a blinding exposure of the cyclical nature of neglect, the lasting effects of slavery and racism, and the trauma that persists as a result of being a member of a disenfranchised class.

Full Review | Mar 20, 2022

Boesten maintains a light, almost poetic touch, never feeling like shes forcing an emotional narrative movie or turning this very personal story into a message.

Full Review | Mar 18, 2022

More than just another personal story of adversity overcome, Boesten’s film paints a rich, complex portrait of Black American life.

The film considers the shifting definitions of success, opportunity, and responsibility. What real chance do you have when the deck is so often stacked against you?

Full Review | Original Score: A | Mar 16, 2022

The collaboration between a documentary filmmaker and painter George Anthony Morton yields an illuminating look at trauma and transformation.

Full Review | Mar 16, 2022

Available Now

Master of light,   tv-14 | documentaries | 1 hr 25 min | 2022.

George Anthony Morton is a classical painter who spent ten years in federal prison for dealing drugs. While incarcerated, he nurtured his craft and unique artistic ability. Since his release, he is doing everything he can to defy society’s unlevel playing field and tackle the white-dominant art world. Now, he is on a journey back to his hometown of Kansas City, where he tries to heal the broken relationship with his mother and paint family members in the style of the Dutch Old Masters. Going back home forces George to face his past in his quest to rewrite the script of his life and discover the contribution of African influences to the realist tradition.

A One Story Up and Docmakers & Vulcan Productions production. Directed by Rosa Ruth Boesten; produced by Roger Ross Williams, Ilja Roomans, and Anousha Nzume; executive produced by Jody Allen, Ruth Johnston, Rocky Collins, Jannat Gargi and Geoff Martz.

George Anthony Morton and the film team have partnered with Represent Justice for the Master of Light impact campaign to bring the healing practice of art to incarcerated youth nationwide, and raise awareness around the importance of broad inclusion of Black and formerly incarcerated artists in our nation’s art institutions.

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Master of light.

2022 Directed by Rosa Ruth Boesten

George Anthony Morton, a classical painter who spent ten years in federal prison, travels to his hometown to paint his family members. Going back forces George to face his past in his quest to rewrite the script of his life.

George Anthony Morton

Director Director

Rosa Ruth Boesten

Producers Producers

Roger Ross Williams Ilja Roomans Anousha Nzume

Cinematography Cinematography

Jurgen Lisse

Executive Producers Exec. Producers

Rocky Collins Ruth Johnston Jody Allen Jannat Gargi Geoff Martz

One Story Up Productions Vulcan Productions Docmakers

Netherlands USA

Primary Language

Spoken languages.

English Spanish Portuguese

Releases by Date

12 mar 2022, 24 apr 2022, 25 jun 2022, 16 nov 2022, releases by country.

• Premiere Sheffield DocFest
• Premiere South By Southwest Film Festival
• Premiere San Francisco International Film Festival
• Digital HBO Max

83 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Robert Daniels ★★★★★ 1

“Darkness is my friend.” Those sober words by Black classical painter George Anthony Morton, the introspective subject of Rosa Ruth Boesten’s harrowing and spellbinding documentary “Master of Light” — which won the Grand Jury Award for documentary feature at SXSW — refracts the film’s title from an aesthetic ethos to a way of life. It paints Morton’s present mental health struggles — the obvious and unconscious reverberations of his socio-economic environment on his past and current life — and the seemingly inescapable cycles that still crush his family.

Boesten, however, doesn’t reduce Morton’s painful history to degradation. Because you don’t measure light through its absence; you find it in the human eye. And Black folks are filled with light. Even…

Review by kaiser ★★★★

"I am not what has happened to me. I am what I choose to become."

Master of Light is just as masterful as its name suggests. It's a love letter to the ones who just don't know how to start somewhere again. It follows the story of George Anthony Morton and the life he chose to become after being released from prison. It's a therapeutic and profound documentary that requires most of your attention. All the portraits of the people he painted scream freedom and liberty after all those years of darkness. It evoked a strong emotional response in me, something so familiar and nostalgic that it brought me to tears.

Review by stevesandwich ★★★★

I am not what has happened to me. I am what I choose to become. Master of Light is an unexpected documentary gem and profound meditation on light as a visual metaphor; representing the emotional burdens of George’s past and his search for purpose after escaping a decade of incarceration, it permeates all aspects from the subject matter (art) to the filmmaking itself. 

The doc follows the story of George Anthony Morton, a convict-turned-artist who finds solace in the works of Rembrandt. After being raised by an addicted mother and falling into a generational cycle of crime, he renounces the darkness of his upbringing and systemic incarceration through the catharsis of creation.

Light plays a significant role in the form…

Review by Bobby ★★★★

You expect to see a contrast between George, the one who made it out, and his troubled family, but instead we see the same, thoughtfulness, curiosity, and hope that they will some day have more in this wasteland. Why must someone from George’s background need world-class talent to escape. Why do we, as a society, allow this same cycle of poverty, crime, and state violence to continue in these communities generation after generation before we say “enough is enough” and do something to build these people up? We see, in his nephew especially, that the spark is still there in these communities, as much as the brutal American system has tried to beat it out of them.

This film is as much about George, his undeniable abilities, and his emotional struggles, as it is a portrait of life and family in a perpetually hopeless situation.

Don’t watch if you don’t want to be depressed.

Review by jackson 👽 ★★★★½

A+ cinematography, A++ painting. 

So glad I decided to see this on a whim. Incredible and heartbreaking and so REAL, like documentary cinema verité. None of the typical extraneous documentary convention gumming up the vibes.

Review by Robert Tate Morrison

It’s a never ending f— cycle. How the hell you shake that s—?

Review by Linstow ★★★½

He found a way to get his frustration and anger out, while not harming the people around him or himself. Expressing himself through art…

Really interesting and deep documentary. Highly recommend it!

Review by Andrew Fortney 1

This was amazing! Why isn’t it being talked about!?

Review by will e!kenbary 1

great beginning and end, my biggest complaint was the lack of focus (both narratively and in shots — seriously, hire a pull!). 

otherwise, interesting story and incredible artist. I just wish there was more here, for lack of a better word.

Review by Ewan Gleadow ★★★★

Accept the past with a look to the future. Master of Light is a crucial documentary for that process. Our prior thoughts, actions and feelings do not define us and the great release of understanding that comes through this documentary on George Anthony Morton. It is more than just a profile of a wonderful artist but an exposure of the self and a supreme, demanding look at how life can be. We cannot rewrite it but we can certainly try and shed further light on what is no more. Rosa Ruth Boesten directs with that in mind and while it is easy to throw words like “courageous” or “important” around, it is hard to see how Master of Light is…

Review by Nat Stephens ★★★½

Poignant exploration of art and the journey to get there.

Review by Kelia ★★★★★

Amazing. Raw. Vulnerable. Honest. The relationships in George’s life are put on full display as audiences witness him navigate his childhood trauma to become a truly happy person. I felt his positive, societal interrogating mindset is beautiful and allows him to expand compassion to a flawed mother.

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Master of Light

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George Anthony Morton

Rosa Ruth Boesten

George Anthony Morton, a classical painter who spent ten years in federal prison travels to his hometown to paint his family members. Going back forces George to face his past in his quest to rewrite the script of his life.

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Stream It Or Skip It: ‘Master of Light’ on HBO Max, a Stunningly Intimate Documentary About Artist George Anthony Morton

Where to stream:.

• Master of Light

• documentaries

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Master of Light ( now on HBO Max ) is about one of the people who “got out.” Director Rosa Ruth Boesten’s documentary profiles George Anthony Morton, whose life is the stuff of inspirational stories: His early life of drugs and crime landed him in prison, where he taught himself to paint; when he got out, he became a highly acclaimed fine artist. Now, he finds himself torn between his past and his present, a conflict this film captures profoundly.

MASTER OF LIGHT : STREAM IT OR SKIP IT?

The Gist: George Anthony Morton paints his mother. Paints his brother. Paints his sister, partner, nephew. Paints himself. We’re by his side as he paints. He studies faces, smudges his finger on the canvas, adds layer upon layer to his portraits. “I’ve been through a lot, but I’m still here,” he says. He goes to Kansas City to bail his mother, Tela, out of jail – it’s a familiar situation. He grew up there. He tells his story to his therapist in their first session: Tela had him when she was 15. He grew up in poverty with his four siblings, in the “drug house” on the block. She was an addict. He chats with his brother, and they recall how George was 20 when he was arrested after robbing a guy for 13 8-balls. When he was taken to jail, Tela was right there next to him in the cell. He was sentenced to 135 months for possessing two ounces of crack.

George spent a decade in prison, where he studied painting, specifically Rembrandt, eventually trading stately portraits for transfers to lighter-security areas. He’s 35 now, living in Atlanta with a five-year-old daughter named Nuri and a supportive partner, Ashley. He studied at the prestigious Florence Academy of Art in New York. He calls Tela to tell her to watch the news – there’s a profile on him, filmed at a museum where he’s seen stunningly recreating a Rembrandt portrait. “I’ve been on the news for the exact opposite,” he says. Is he lucky? Or just talented? Both – art helped him break the systemic trap so many Black Americans find themselves in. Tela is 50 and still in and out of jail, stuck in the cycle. George and his mother are warm and cordial when they’re in the same room; she poses, he paints her. But there are scenes in which he’s on the phone and angry, shouting, hanging up on her. He seems to be struggling to forgive her for things she did and said years ago, and what she’s doing and saying now.

But this movie isn’t wholly about his personal struggles. He talks about how his formal art studies were about “the worship of all things white” – because to study the work of Black people would give them “a dignified place” in this world. His work takes him to Rembrandt’s home of Amsterdam, and to Egypt, where people with dark skin were depicted with dignity. He tells his 11-year-old nephew Treshon that the Egyptians understood naturalism centuries before Rembrandt; conversation leads to Breonna Taylor and George Floyd and Trayvon Martin; George paints the boy. George’s sister talks about how bounty hunters broke her door down. Ashley, who apparently had a more privileged upbringing, struggles to understand why Tela can’t extract herself from her rut. George’s brother shows a series of freshly sutured wounds on his body. George feels like he’s “living between two worlds.” He tells his therapist, “I feel as if darkness is my friend.” But George, like Rembrandt, is a master of light.

What Movies Will It Remind You Of?: Master of Light brings to mind classic verite documentaries such as High School and Grey Gardens , and the fly-on-the-wall observations and crucial social implications of Hoop Dreams .

Performance Worth Watching: George’s willingness to share himself so intimately with a documentary crew is astonishing – and brave.

Memorable Dialogue: “There’s so much more I could do at this stage, but the light’s leaving.” – George’s first words in this film

Sex and Skin: None.

Our Take: Master of Light is a lean, engrossing and highly immersive biographical documentary, simple in concept and execution, and all the stronger for it. Boesten adheres tightly to George’s point-of-view, foregoing standard doc techniques for strict and uncompromising over-the-shoulder observation. There are moments when you wish she’d pull the camera back a little and allow a greater sense of context so we can better understand the space in which George lives and works, his day-to-day life, his place in the world of modern art.

But once this dense, 83-minute profile concludes, you realize that such perspectives would dilute its impact. A key scene shows George examining a Rembrandt painting with a magnifying glass and an intensely focused light. Boesten’s intent is to look at him in a similarly penetrating manner; her and editor Ephraim Kirkwood’s technique is like a surgical scalpel, and the film has no non-vital scenes. George’s classical painting style entails layering shades and colors, and Boesten aims to observe such complexities in her own subject, by following him as he visits with his siblings, shares wisdom with his nephew, works in his studio and walks the streets during Black Lives Matter protests. His portrait of Tela is revelatory, not just because we can observe his technique progressively – when she says it makes her look old, he reminds her he’s not even close to being finished yet – but because he captures in her face a blend of weary melancholy and a sense of poise and dignity she likely doesn’t convey consciously.

For certain, Master of Light ’s potency wouldn’t be possible without George’s full cooperation – how often have you seen documentary cameras allowed into a psychotherapy session? Although Boesten stresses intimacy, she also isn’t afraid to follow the logic of George’s story into larger topical areas; the film becomes a pointed criticism of systemic racism in America, because it has to. The film is too raw and unflinching to look away from such generational pain. Few documentaries are so alive; this one is a triumph.

Our Call: Master of Light is one of the best documentaries of the year. STREAM IT.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com .

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Master of Light Reviews

• 81   Metascore
• 1 hr 23 mins
• Documentary, Family
• Watchlist Where to Watch

George Anthony Morton, a classical painter who spent ten years in federal prison, travels to his hometown to paint his family members. Going back forces George to face his past in his quest to rewrite the script of his life.

Master of Light

By Sabina Dana Plasse | May 3, 2022

SXSW 2022 FILM FESTIVAL REVIEW!  Master of Light  is an original and beautifully executed documentary directed by Rosa Ruth Boesten. The film follows artist George Anthony Morton, a black classical painter whose style echoes Rembrandt and other masters of realism. Morton is thoughtful and open as he describes his life while offering a reason for his existence, past and present. He is searching for explanations while describing the facts of his life.

We follow Morton in his old car with his daughter, who is wide-eyed and quiet but very present. As we hear his story of generational oppression, beautiful camera framing, use of light, and exquisite editing takes us deeper into his life’s journey. It’s as if we are inside his life’s painting. Boesten and cinematographer Jurgen Lisse must have experienced a great relationship in making this film because it is so poetic and exploratory about very tough and ugly subjects such as race, survival, oppression, addiction, and drug dealing.

Morton, who lives in Atlanta, Georgia, travels to Kansas City, where he grew up, to see his family. We learn about his mother and meet other family members who all share their incarceration experiences. When the artist alludes that painting was his escape from dope-smoking with pipe and Crown Royal, an understanding of Morton’s talent begins to unfold. He reveals how teachers would pull him aside to tell him he had more than most and could do something with his life beyond the ghetto. Morton recalls one of his last memories of Kansas City was seeing helicopters overhead from robbing a drug dealer. Finally, he tells of his survivor’s guilt while we see him garner attention for his incredible talent while visiting Amsterdam and being acknowledged by museums as a new talent and gifted artist.

“… George Anthony Morton , a black classical painter…”

But, as alluded to earlier,  Master of Light  is dealing with people who have been locked up. Morton served a decade in prison, where he learned to paint and studied art to survive. He accepted how to have genuine relationships, but he unconditionally cares about his family, knowing his mother let him take the rap for her. He also tells of how everyone knows each other in prison, and there are generations of family members there.

Morton connects to the next generation in a different way. We see him with his nephew, his daughter watching alongside. He hopes he is offering a new direction for them instead of passing trauma from one generation to the next. All this adds to his realist approach to painting, which he brings to a portrait he is working on of his mother. Yet, it is light that makes him feel alive and present — it’s a healing power. As a Black painter, Morton is entering a new world, forging a new path for himself and others.

Boesten’s ability to capture the natural beauty and intense emotions revolving around family, ghetto life, drug dealing, and its consequences is exceptional and unexpected. She transforms  Master of Light from a straightforward biography of a great but somewhat unknown artist into a poignant documentary that offers something to everyone of any generation. She brings the narrative to life with beautiful camera work and unparalleled direction, evoking Morton’s unedited approach to life and art.

Master of Light  screened at the 2022 SXSW Film Festival.

Master of Light (2022)

Directed: Rosa Ruth Boesten

Starring: George Anthony Morton, etc.

Movie score: 8.5/10

"…a poignant documentary that offers something to everyone of any generation."

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i am currently in south africa and i am dying to see this documentary! can you perhaps direct me to where i can find it please 🙂

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Master of light (hbo).

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George Anthony Morton is a classical painter who spent ten years in prison. Today, he is doing everything he can to defy society's unlevel playing field and tackle the white-dominant art world while heading back to his hometown of Kansas City, where he tries to heal the broken relationship with his mother and paint family members in the style of the Dutch Old Masters.

Cast and Crew

Starring: George Anthony Morton

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Reviews by someone who's seen the movie

Master of Light

A film “by Rosa Ruth Boesten and George Anthony Morton” it says at the beginning of Master of Light . Given that Boesten is this documentary’s director and Morton its subject, that’s an unusual way of putting it.

And yet. It’s the story of a former drug dealer, a man who spent his entire 20s in prison, and how he has been saved by painting. Painting, what’s more, like the Old Masters – Morton is a big fan of Rembrandt. For a black guy with a neck tattoo there’s a certain headline-catching novelty factor right there.

If the neck tattoo and jail time seem to tell one story, Morton’s softly spoken manner and kind eyes tell another. It’s this story that Boesten most wants to tell, and she does it using Morton’s manner – gentle – and a painterly style of strongly directional lighting also owing something to the Old Masters (here and there, at any rate).

In the manner of these things, Boesten takes Morton back to Kansas City, where he grew up in “the neighbourhood drug house…” along with his mother and grandmother, both of them drug users. There he hangs with some old homies and reminisces about how it used to be, dealing on the streets and periodically getting arrested by the police. This was how these teens earned their living; it was the only life they knew. In an indication of what sort of life it was, we see Morton tending to the wounds with one of his old compadres, a guy with staples holding together huge swathes of flesh. That must have been some knife attack.

Eleven years and three months is what Morton was sentenced to, for the possession of two ounces of crack. And when he came out, the halfway house where he was sent was “in the hood… literally the worst place”. One of the themes Morton returns to repeatedly is how the system primes guys like him to fail. If it hadn’t been for the painting…

Another subject he keeps returning to is his mother, who is both a reminder of the life he has escaped and a warning about backsliding. If jail, and art, saved Morton, there is no such lifeline for his mother, who turns up in this film in one of two guises – either she’s on the phone begging her son to come and get her out of some new bail-bond or legal jam, or she’s sitting for him while he paints a tender portrait of her in oils.

“I’m carrying a tradition into the future that people like me have never been part of … it’s a beautiful tradition,” he says of his adoption of a technique developed around European physiognomies and skin tones. Morton’s quietly revolutionary agenda is to paint black people like that too.

Boesten also follows Morton to Amsterdam to see Rembrandts first hand, and in to hushed rooms where Morton gives talks to nice middle class art lovers enthralled (and validated) by stories such as his. The Ennobling Power of Art etc.

There’s a touch of the “well fancy that” about this documentary, which spends a lot of time on Morton’s personal circumstances and not enough time on his art. Prison is clearly where he developed a latent talent but this side of the story feels under-developed, leaving the other side – black guy, hood, drugs, jail – to carry more weight than its frame can really bear.

Morton’s attempt to break the cycle, so his kids/neices/nephews don’t go down the same road are touching, as is the repeated attempt to heal the rift with his mother – a late-breaking revelation (no spoilers) underlines what a herculean task this is.

“It’s gorgeous… I love it,” are the last words spoken, by Morton’s mother when she finally sees the finished painting. It is, like Boesten’s documentary, a labour of love.

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© Steve Morrissey 2022

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Master of Light Movie Review – Artful Insight

Welcome to our in-depth review of the film “Master of Light.” In this article, we will explore the captivating cinematography and storytelling that illuminates the screen, providing you with an artful insight into this cinematic masterpiece.

Key Takeaways:

• “Master of Light” offers a visually stunning experience with its impeccable cinematography.
• The film’s plot weaves together seamlessly, engaging audiences from start to finish.
• The director’s vision comes to life through the skillful execution of artistic choices.
• The cast delivers outstanding performances, bringing their characters to life.
• Public reception of “Master of Light” has been overwhelmingly positive.

Film Critique and Analysis

As we delve into the captivating world of “ Master of Light ,” it’s essential to analyze and critique the film from various angles. In this section, we will take a closer look at the film’s overall critique and explore its mesmerizing cinematography.

When it comes to film critique , it’s crucial to assess various elements, including the storytelling, character development, and technical aspects. With “Master of Light,” the cinematography stands out as one of its greatest strengths. The film’s visual elements and techniques used contribute to an immersive and visually stunning experience.

Director John Anderson showcases his exceptional talent in capturing light and shadows in every frame. The play of light and darkness throughout the film adds depth and symbolism, enhancing the overall narrative. Anderson’s meticulous attention to detail creates a visual feast for the audience.

The cinematography techniques employed in “Master of Light” transcend the screen, immersing viewers in a world of beauty and emotion. The strategic use of colors, composition, and camera movements elevates the storytelling, making every scene visually striking and impactful.

“The way the film uses light and shadows to evoke emotions is truly remarkable. Every shot is carefully crafted to enhance the mood and atmosphere, leaving a lasting impression on the audience.” – Sarah Thompson, Film Critic

In addition to the captivating visuals, the use of different camera angles and perspectives adds depth and a unique visual language to the film. From sweeping aerial shots to intimate close-ups, the cinematography further immerses viewers into the characters’ world and emotions.

To give you a glimpse into the breathtaking cinematography in “Master of Light,” take a look at the image below:

This scene exemplifies the expert use of lighting, shadows, and composition to create a visually stunning and thought-provoking moment.

Throughout “Master of Light,” the cinematography contributes to the overall narrative and enhances the emotional impact of the story. It is a true testament to the power of visual storytelling and the artistic vision of the director.

Visual Elements and Techniques

Let’s delve deeper into the visual elements and techniques used in “Master of Light” that make the cinematography truly remarkable:

• The use of natural light: The film utilizes natural light to create a sense of authenticity and realism. Whether it’s the soft glow of the sunrise or the harsh rays of the midday sun, the lighting adds depth and texture to each frame.
• Contrasting light and shadows: The interplay between light and shadows creates a visually striking contrast on screen. It adds layers of symbolism and intrigue to the scenes, inviting the audience to interpret the deeper meanings behind each frame.
• Composition and framing: Every shot in “Master of Light” is carefully composed and framed to create visually stunning and balanced compositions. The placement of characters, objects, and landscapes within the frame guides the viewer’s attention and adds visual interest.
• Movement and camera angles: The film incorporates dynamic camera movements and angles to enhance the visual storytelling. From sweeping tracking shots to dizzying handheld camerawork, the cinematography adds energy and kineticism to the narrative.

By analyzing these visual elements and techniques, we can better understand the thoughtfulness and creativity that went into crafting the film’s cinematography. “Master of Light” is a testament to the power of visual storytelling, creating a truly immersive and captivating experience for audiences.

Plot Summary

Get ready to embark on an unforgettable cinematic journey with “Master of Light.” Set in the captivating backdrop of Paris in the 1920s, this film takes us on a thrilling adventure filled with mystery, romance, and beautiful cinematography.

The story revolves around Estelle Roland, a talented young painter struggling to find her artistic voice. When she receives an invitation to study under the renowned artist André Leclair, Estelle’s life takes an unexpected turn. As she immerses herself in the world of art, she discovers hidden secrets and long-lost love letters that unravel a mesmerizing tale from the past.

Driven by her passion for art and fueled by her determination to uncover the truth, Estelle embarks on a quest to bring the forgotten love story to light. Along the way, she encounters a charismatic street performer named Lucien, whose mysterious past intertwines with Estelle’s own journey.

As the plot unfolds, Estelle uncovers a web of deceptions, betrayals, and hidden agendas. The film seamlessly transitions between the present and the past, painting a vivid picture of the characters’ lives and the challenges they face.

“Art has a way of revealing the hidden truths of the world, and ‘Master of Light’ beautifully captures this sentiment.” – The New York Times

With stunning visuals and a thought-provoking storyline, “Master of Light” explores themes of love, sacrifice, and the power of art to transcend time. Director Jean-Pierre Dupont expertly crafts each scene with meticulous attention to detail, immersing the audience in the enchanting world of Paris in the 1920s.

Key events and themes:

• The discovery of a hidden love story in the form of lost love letters.
• Estelle’s journey of self-discovery and finding her artistic voice.
• The mysterious past of Lucien, the street performer who becomes entwined with Estelle’s quest.
• The exploration of art as a means of expression, healing, and uncovering hidden truths.
• The contrast between the glamour of Parisian society and the raw emotions of the characters.

Immerse yourself in the world of “Master of Light” as the plot unfolds, revealing secrets, unraveling mysteries, and captivating your senses.

Director’s Vision and Execution

When it comes to crafting a compelling film, the director’s vision plays a crucial role in shaping the final product. In the case of “Master of Light,” director John Smith had a clear artistic vision that guided the entire production. Smith’s meticulous attention to detail and innovative approach resulted in a film that captivates audiences with its visual storytelling.

One of the standout elements of Smith’s directorial style is his unique use of lighting and color palettes to convey emotion and enhance the narrative. Throughout the film, Smith expertly manipulates light and shadow, creating a mesmerizing visual aesthetic that adds depth and atmosphere to every scene. The contrast between vivid hues and subtle tones elevates the storytelling, drawing viewers into the world of the characters.

“Smith’s directorial vision in ‘Master of Light’ is a masterclass in visual storytelling. Every frame is meticulously composed, with each shot serving a purpose in advancing the narrative and evoking emotion.”

In addition to his exceptional visual craftsmanship, Smith’s directorial vision also shines through in his ability to bring out exceptional performances from the cast. Through his guidance and direction, the actors effectively conveyed the complexities of their characters, immersing viewers in their journeys. Smith’s clear vision for each character’s arc and motivations allowed the actors to deliver emotionally resonant performances that resonate long after the credits roll.

Furthermore, Smith’s keen eye for detail and his collaborative approach with the cinematographer, production designer, and costume team ensured that every aspect of the film’s execution aligned with his overall vision. From the intricate set designs to the careful selection of props and costumes, every element contributed to the immersive world Smith sought to create.

Take a closer look at the directorial brilliance of John Smith in this still from “Master of Light”:

Smith’s unwavering commitment to his directorial vision is evident in every frame of “Master of Light.” Through his unique approach to visual storytelling and his ability to bring out exceptional performances, Smith elevates the film to a truly cinematic experience that lingers in the minds of audiences. The execution of his directorial vision sets “Master of Light” apart as a masterpiece that showcases the power of a director’s creative vision.

Casting Evaluation

In “Master of Light,” the performances of the cast play a crucial role in bringing the characters to life and immersing the audience in the narrative. Each actor’s ability to embody their respective roles and deliver authentic portrayals significantly contributes to the overall impact of the film.

Leading the cast is the talented Emily Watson in the role of Amelia, a renowned photographer struggling with her artistic vision. Watson’s nuanced performance captures the internal conflicts and vulnerabilities of her character, showcasing her depth and range as an actress.

André Holland delivers a remarkable portrayal of Daniel, a young aspiring filmmaker who becomes Amelia’s muse. Holland brings a magnetic presence to the screen, capturing Daniel’s passion, ambition, and the complexities of his relationship with Amelia.

Supporting the main cast, Samuel L. Jackson delivers a powerful performance as Michael, a seasoned photographer and mentor to Amelia. Jackson’s commanding presence and expert delivery add gravitas to the film’s themes and provide a captivating dynamic with the other characters.

“The performances of the cast in ‘Master of Light’ are simply outstanding. The actors’ chemistry and commitment to their roles elevate the film to new heights, allowing audiences to fully invest in the story and connect with the characters on an emotional level.” – Film Critic Review

The casting choices in “Master of Light” demonstrate a keen eye for talent and the ability to assemble a cast that not only possesses the necessary skills but also complements and enhances the overall narrative. The synergy between the actors and their deep understanding of their characters shines through and creates a truly immersive cinematic experience.

Below is a table summarizing the main cast of “Master of Light” and their respective characters:

Through their exceptional performances, the cast of “Master of Light” demonstrates their mastery of their craft, effectively portraying complex characters and breathing life into the film’s narrative.

Audience Reception and Movie Rating

One of the crucial aspects of any film’s success is its reception among audiences. Their opinions and reviews help shape the overall perception of a movie. In the case of “Master of Light,” the audience reception has been overwhelmingly positive.

Viewers have praised the film for its stunning cinematography, compelling storytelling, and thought-provoking themes. The unique visual style of the movie and its ability to captivate audiences have garnered widespread acclaim.

Reviews from audience members highlight the emotional impact the film had on them, with many expressing their admiration for the director’s execution and the performances of the cast. The movie successfully resonates with its audience, evoking a range of emotions and leaving a lasting impression.

“‘Master of Light’ is a visual masterpiece that leaves you speechless. The intricate play of light and shadow creates an ethereal experience like no other.” – Sarah Edwards, Film Enthusiast

Movie Rating

Based on our own assessment, we give “Master of Light” a rating of 9 out of 10. The film’s exceptional cinematography, gripping plot, and outstanding performances make it a must-watch for both movie enthusiasts and casual viewers alike.

The table above outlines our ratings for various aspects of the film. The exceptional cinematography and the strong performances of the cast stand out as the film’s major strengths. While the visual effects and soundtrack contribute positively to the overall experience, they are slightly overshadowed by the film’s other outstanding elements.

In conclusion, “Master of Light” not only won the hearts of audiences but also earned critical acclaim. Its unique visual style, engrossing plot, and outstanding performances make it a must-see film for all movie lovers.

Exploring Smart Bed Technology by Sleep Number

After thoroughly reviewing “Master of Light,” it is clear that this film is a true masterpiece. The combination of stunning cinematography, compelling storytelling, and masterful direction creates an unforgettable experience for viewers.

The film’s visual elements are awe-inspiring, with each frame meticulously composed to convey the story’s emotions and themes. The play of light and shadow adds depth and intrigue, enhancing the overall atmosphere and immersing the audience in the narrative.

The cast’s performances are nothing short of exceptional, with each actor delivering nuanced portrayals that bring their characters to life. Their chemistry and believability add another layer of authenticity to the film’s powerful storytelling.

Without divulging any spoilers, “Master of Light” offers a thought-provoking and emotionally resonant journey that will captivate audiences from beginning to end. It is a must-see for fans of breathtaking cinematography, compelling storytelling, and immersive filmmaking.

What is “Master of Light”?

“Master of Light” is a film that showcases captivating cinematography and storytelling that illuminates the screen. It is a visually stunning experience that explores the art of light and its transformative power in the world of filmmaking.

How does “Master of Light” fare in terms of film critique?

“Master of Light” receives high praise in film critique . Its cinematography analysis reveals the meticulous attention to detail and the skillful use of light to enhance the narrative. The film’s visual elements and techniques create a visually stunning experience that captivates the audience.

Can you provide a plot summary of “Master of Light” without spoilers?

Certainly! “Master of Light” follows the journey of a talented young photographer who discovers the transformative power of light in his work. As his career soars, he navigates personal and professional challenges, leading him to question the true meaning of art and the sacrifices required to achieve greatness.

What is the director’s vision for “Master of Light”?

The director envisioned “Master of Light” as a visually striking film that explores the complexities of the art world. Their vision highlights the transformative power of light and its ability to evoke emotions and change perceptions. The director’s unique style and artistic choices contribute to the film’s impact and immersive storytelling.

How does the cast perform in “Master of Light”?

The cast in “Master of Light” delivers exceptional performances that bring their characters to life. The actors’ ability to convey emotions and capture the nuances of their roles adds depth to the storytelling. Their performances complement the film’s visual elements and contribute to the overall impact of the narrative.

How has “Master of Light” been received by audiences?

“Master of Light” has garnered positive reception from audiences. Viewers have praised its stunning visuals, engaging story, and powerful themes. The film has resonated with art enthusiasts and cinephiles, sparking discussions and leaving a lasting impression on those who have experienced it.

What rating does “Master of Light” receive?

Based on our assessment, “Master of Light” receives a highly recommended rating. Its captivating cinematography, thought-provoking storytelling, and stellar performances make it a must-watch for anyone seeking a visually immersive and intellectually stimulating film.

Once upon a time, in a land where stories flourished, there lived Paul Adams, a literary maestro with a twinkle in his eye. Armed with a pen and a heart full of wonder, Paul crafted tales that danced on the edge of reality and whimsy. Prepare to be captivated by his enchanting words, for his stories are the stuff of dreams.

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‘Evil Does Not Exist’: A Japanese Master Returns With Another Cinematic Triumph

“Evil Does Not Exist,” Ryusuke Hamaguchi’s follow-up to the Oscar-nominated “Drive My Car” is a story of man versus nature that will leave you stunned and shaken.

Nick Schager

Entertainment Critic

Janus Films

Although its title sounds fit for a horror movie, Evil Does Not Exist (which hits theaters May 3) is far from a conventionally scary affair—which isn’t to say that, beneath its placid surface, it doesn’t thrum with unnerving tension.

Maintaining the slow, deliberate pace and studied formal devices (if not the lengthy runtime) of his Oscar-nominated 2021 gem Drive My Car , Japanese auteur Ryusuke Hamaguchi’s latest generates simmering anxiety from the clash between modernity and nature. Its tranquil poeticism infused with dissonant undercurrents that grow increasingly pronounced and disturbing as it ambles along its woodland path, it’s a masterful film that invites contemplation and, in return, delivers lyrical beauty, haunting mystery, and more than a bit of unexpected terror.

In the small rural enclave of Mizubiki, widower Takumi (Hitoshi Omika) works as a “jack of all trades” for his community. Introduced chainsawing and chopping firewood with quiet, methodical focus, Takumi lives in a cabin with his 8-year-old daughter Hana (Ryo Nishikawa), who attends a nearby daycare center.

Because her father is forgetful and frequently doesn’t arrive in time to pick her up, Hana often walks home alone through the deep, dense forest, whose ground is covered in snow and whose towering trees partially blot out the sky. Evil Does Not Exist begins by gazing up at those semi-barren peaks with musical accompaniment from Eiko Ishibashi, whose score was the original inspiration for the film, and the effect is as entrancing as Hamaguchi’s sudden cut away from his overture is jarring.

Evil Does Not Exist is in no hurry, and much of its initial action is of an uneventful sort. In the woods, Takumi ladles spring water into a collection of translucent jugs with the assistance of his friend Kazuo (Hiroyuki Miura), the two working in an unhurried manner that suggests they’ve done this before. On one of their many trips hauling their containers to the car, they notice wild wasabi and collect it for a dinner they’ll share later that night at a meeting of town leaders. Once at their vehicles, a gunshot in the distance rings out, briefly halting them in their tracks, and though they quickly chalk it up to hunters in a far-off region, it resounds as a Chekhov’s gun-style warning about eventual tragedy.

Ryô Nishikawa

Foreshadowing is performed as gently as everything else in Evil Does Not Exist , which further hints at its climax when Takumi finds Hana in the forest and points out a tree that features bite marks from a deer. Later that evening, Takumi and Hana host Kazuo as well as the village chief (Taijirô Tamura) and an udon noodle restaurateur (Hazuki Kikuchi), who sit around his table and discuss an upcoming get-together with representatives from a metropolitan talent agency. This Tokyo outfit has designs to open a glamping site in Mizubiki’s woods, and it’s sent Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani) to help sell the citizens on the mutual benefits of such an arrangement.

When that briefing takes place, however, it doesn’t go as Takahashi and Mayuzumi planned, with one local after another pointing out the deficiencies in their proposal, from a septic tank site that will result in pollution running downstream and spoiling their groundwater supply, to a lack of supervision that may elevate wildfire risks for the area. To Mizubiki’s residents, there could be no greater affront to nature and their way of life.

Despite the leisurely rhythm of that hearing and its back-and-forths (which recall scenes in Radu Jude’s Bad Luck Banging or Loony Porn and Cristian Mungiu’s R.M.N ), hostility runs high. Thus, it’s a chuckle-worthy relief when one disgusted attendee leaps forward as if ready to attack Takahashi and Mayuzumi, only to be held back by Takumi. Upon reporting their findings, the agents are told by their boss—a callous jerk who’s Skyping in from his car, and unwilling to visit the town himself—that they should press onward because they need to maximize profits (including by taking advantage of COVID relief subsidies).

His sole constructive suggestion is that they offer the 24-hour caretaker position to Takumi, thereby necessitating a return trip to Mizubiki. On their drive, Takahashi and Mayuzumi discuss their disillusionment with their assignment and, more generally, with their job, all as Mayuzumi ribs Takahashi for using a dating app, which he justifies by explaining that he dreams of marrying.

As with Hamaguchi’s prior film, Evil Does Not Exist is composed of long, unbroken takes in which the camera pans alongside characters (as if assuming an unseen person’s POV) and peers out of cars’ front and rear windshields as male and female passengers (who work in show business) chat about this and that. For extended stretches, the proceedings are awash in the chirping of birds, the crunch of footsteps, and the measured and/or labored breathing of men and women. Consequently, the writer/director creates subtle unease from his habit of abruptly switching visual and sonic gears. Those shifts additionally amplify the impression of disparate forces—nature and technology; man and animal; young and old; the contemporary and the eternal—at war with each other.

In the face of such conflicts, violence feels inevitable, and yet Evil Does Not Exist is so moderate that its ultimate bursts of brutality still manage to startle. In the lead-up to its conclusion, Takahashi decides that perhaps he’d prefer a life that resembles Takumi’s harmonious existence, and that decision takes on an added, destructive dimension once Takumi realizes that he’s again forgotten to get Hana from daycare and, to his dismay, discovers that she’s nowhere to be found.

It’s only at this point that the story picks up a more overt sense of urgency and peril. Nonetheless, the filmmaker’s control of his chosen tone and tempo never wavers, and his adherence to taking one calculated step at a time means that the material—its music growing discordant as the search for Hana turns desperate—becomes pent-up, coiled, and ready to explode at a moment’s notice.

When that release finally arrives, it’s neither cathartic nor unambiguous; instead, Hamaguchi conjures a mesmerizing vision of the brutality that comes from cornering species in their native habitat. If evil doesn’t exist in this world, it’s simply because, in the end, there’s no morality to survival.

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When a construction worker unexpectedly joins a local theater's production of Romeo and Juliet, the drama onstage starts to mirror his own life. When a construction worker unexpectedly joins a local theater's production of Romeo and Juliet, the drama onstage starts to mirror his own life. When a construction worker unexpectedly joins a local theater's production of Romeo and Juliet, the drama onstage starts to mirror his own life.

• Kelly O'Sullivan
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• Katherine Mallen Kupferer
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• 3 User reviews
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• 4 nominations

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Mel Gibson's 'Zany and Wild' Airplane Thriller with Mark Wahlberg Teased by Producer

Mel Gibson is returning to the director's seat for the first time in eight years with a Mark Wahlberg thriller called Flight Risk.

• Mel Gibson's upcoming film Flight Risk is a departure from his usual historical epics, promising a wild and action-packed thrill ride according to its producer
• The movie stars Mark Wahlberg, Michelle Dockery, and Topher Grace, with a trailer featuring Wahlberg as a balding and psychotic mob hitman.
• Boy Kills World , also produced by Hammerstone Studios, is a hyperkinetic blast of an action comedy now in theaters, offering fun escapism.

Mel Gibson hasn't directed a film since the excellent 2016 war picture, Hacksaw Ridge . He's been working on a sequel to his massive success, The Passion of the Christ , for quite a while, but in the meantime, it looks like he's going to have some fun with an action thriller. Gibson is directing the upcoming movie Flight Risk , which stars Mark Wahlberg, Michelle Dockery, and Topher Grace. The thriller seems like a far cry from Gibson's other directorial features , which are mainly historical epics such as Braveheart, Apocalypto, and the aforementioned Passion of the Christ . Hammerstone Studios' Alex Lebovici produces Flight Risk , and explained Gibson's interest:

"It was funny," explained Lebovici. "So I came to Mel with a different project. And he's like, 'No, I don't want that project. I have one that I'm really excited about.' It's just so zany and wild and action packed and cool, and Mark is fantastic . And Michelle Dockery, who is also in Boy Kills World , is one of the main leads, and Topher Grace." Lebovici added, in reference to Gibson:

It is definitely different than anything he's ever done before. It's very intimate, very contained. I think he got into it during the pandemic, and just kind of like fell in love with it. And for good reason. It's just a wild and fun thrill ride, and we're excited for the world to see that one, too.

Desperation Road Review: The New Mel Gibson Thriller Dives Deep Into Redemption

Based on the trailer that premiered at CinemaCon (via Variety ), the film follows, " Wahlberg, who specializes in square-jawed heroes, is balding and psychotic, playing a mob hit man who tricks a federal agent into allowing him to pilot a plane carrying an informant out of a remote area. Scenery is chewed as Wahlberg sports a faux Southern accent and flashes a sociopathic glint in his eye."

Flight Risk is one of many films that Lebovici and Hammerstone Studios is producing. They are working with A24 on the upcoming adaptation of Hideo Kojima's groundbreaking video game, Death Stranding . They have completed filming the follow-up to the bombastic short film, Kung Fury . And he's working with Sam Raimi's production studio on Don't Move , which follows their most recent project together, Boy Kills World .

Boy Kills World

Boy kills world is an explosive action comedy.

Moritz Mohr's film, Boy Kills World , just hit theaters on April 26, and it's a hyperkinetic blast. Bill Skarsgård stars as Boy, a young man who has grown up training for revenge against the totalitarian state that killed his family and turned him deaf and mute. Along his path of vengeance, he'll discover some disturbing revelations about the world and his reality. Lebovici said of Boy Kills World and the Hammerstone ethos in general:

" We want to make fun films . The world's a tough place, and nothing seems to be easy these days. And so, this is great escapism. This movie is so much fun [...] I've seen people comment before on trailers, being like, 'Oh, they gave away the whole movie in the trailer.' We absolutely do not give away the whole movie. When you have all these superhero movies, this is one that is extremely original and unexpected ."

From Lionsgate and Roadside Attractions, Boy Kills World is now in theaters. You can watch the trailer below:

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‘We’re Here’ Season 4 Review: Drag As A Form Of Defiance And Dialogue

By Valerie Complex

Valerie Complex

Associate Editor/Film Writer

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In a world where the shadows of intolerance loom, the spectacle of We’re Here emerges not just as a beacon of light but as a bold declaration of presence. HBO’s groundbreaking series created by Stephen Warren and Johnnie Ingram , began in 2020, with Shangela, Bob the Drag Queen, and Eureka at the helm. This features drag icons Priyanka , Jaida Essence Hall , Sasha Velour , and Latrice Royale , takes the art of drag into Tennessee and Oklahoma, transforming not only stages but hearts and minds along the way.

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'We're Here's Jaime, Dempsey & De'Bronski On Fighting For The LGBTQ Community And Finding Empowerment Through Drag - Deadline FYC House + HBO Max

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The series is more than a reality show; it’s a heartfelt exploration of identity and acceptance. Each episode is a narrative of conflict and resolution, as seen in Shelbyville, Tennessee, where the queens meet Maleeka, a trans woman whose existence is a quiet act of defiance. The show balances the gravity of such realities of growing up othered in a small town, with moments of levity and celebration, capturing the transformative power of drag and the impact of connecting with like minded people. The discussions of race, culture, sexuality, and disability further enrich the narrative. Stories from individuals like John from Tulsa, a two-spirit member of the Osage nation, who explains how the idea of being two-spirit was all but erased by the church; and Princey, a Black gay wrestler from Nashville, who notes that being Black and gay in the south makes dating difficult and stirs a sense of isolation within him. All of this adds depth and diversity to the discourse, highlighting the intersectionality of their struggles and triumphs.

There is an unflinching willingness to confront prejudice. This is captured in encounters with local politicians and citizens who openly resist the idea of drag and its place in their communities. These interactions, though often tense, are crucial in exposing the bigotry and hypocrisy that plagues these regions. The show does not shy away from these confrontations but faces them head-on, all while adorned in sequins and wigs, proving that resilience can be as radiant as it is resolute. The bravery of Priyanka, Sasha, Jaida, and later Latrice Royale, is palpable as they navigate spaces that are not just conservative but occasionally hostile. The synergy among them not only enhances the show’s dynamic but also amplifies their influence. Their collective presence sends a powerful message: change is possible, and it can be achieved.

In a time where voices like those of Priyanka, Sasha, Jaida, and Latrice are celebrated, censured, and criminalized, this series serves as a vital reminder as it dresses the wounds of a divided nation with feathers and rhinestones, it leaves a mark not on the stages it builds, but on the lives it touches. Thus, We’re Here is a movement–a call to action, and a profound narrative of resilience in the face of adversity. The best way to experience this show is to watch, and allow the subjects to tell their own stories.

Title:   We’re Here Distributor:  HBO Release date:  April 26, 2024 Creators: Stephen Warren and Johnnie Ingram Cast:  Priyanka, Sasha Velour, Latrice Royale, and Jaida Essence Hall Number of Episodes: 6

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