BLACK

FROM THE CESAR AND BAFTA AWARD WINNING PRODUCER OF ‘A PROPHET’.

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The spirit of Blaxploitation classics such as ‘Super Fly’, ‘Shaft’ and ‘Truck Turner’ is given a modern day makeover in the action-thriller, Black, the directorial debut feature from Pierre Laffargue.

Produced by Marco Cherqui (A Prophet) and starring French hip-hop artist MC Jean Gab’1 (the District 13 movies), Carole Karemera (Sometimes In April), Francois Levantal (A Very Long Engagement; D’Artagnan’s Daughter) and Anton Yakovlev (The Beat That My Heart Skipped), Black is “a slick, fun, French heist flick” (Eye Weekly) with a supernatural sting in the tail that sees its eponymous protagonist and anti-hero travelling from Paris to West Africa and the Senegalese capital of Dakar in order to pull off the biggest score of his criminal career.

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When an armed raid on a security van in Paris goes horribly wrong, one of the gunmen, Black (MC Jean Gab’1), decides to lie low until the dust settles. That is until he receives a call from his cousin in Senegal supplying information about a stash of uncut diamonds being stored in a poorly guarded bank in Dakar. Eyeing the opportunity to make one final score that would set him up for life, Black travels to Africa and hooks up with a small group of fellow thieves who can help him pull off the heist.


Unfortunately, news of the diamonds and their insecure location travels fast and Black and his crew aren’t the only ones with their eyes on the prize. Also looking to get their hands on the jewels are a crazed, mercenary Russian general (Yakovlev), a ruthless, reptilian arms dealer (Levantal) and his African voodoo sorceress mistress (Mata Gabin), and a corrupt, female Interpol agent called Pamela (Karemera). As his team rapidly begins to fall apart in the ensuing melee to claim the diamonds first, Black once again finds himself alone, running and fighting for his life against seemingly unbeatable odds.

Described by Eye For Film as a “popcorn movie with oodles of French cool”, Black is a affectionate and worthy tribute to the Blaxploitation genre right down to its energetic soundtrack of funk, jazz and soul by artists such as the film’s star MC Jean Gab’1, Eumir Deodato, Fela Kuti, Brass Construction, Don Cherry and Roy Ayers.

Black (cert. 15) will be released on DVD (£15.99) and Blu-ray (£19.99) by Anchor Bay Entertainment on 14th February 2011.

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When I first watched AMER, aside from all the references to classic Euro-Crime and Giallo movies, the first movie that sprang to mind was Kill Bill. Although in terms of style and storytelling these two films may at first seem poles apart, what they share is a way of using genre movie tropes in a similar fashion to musicians who uses samples to create new music. I always thought of Tarantino as the DJ Shadow of movie making.

DJ Shadow pushed Hip-Hop forward by creating seemless new music out of layer upon layer of dusty samples. Rather than using well known hooks and trusted beats to create party joints, he favoured film soundtracks, obscure jazz albums and oddball vinyl ephemera to construct music that was entirely his own despite being the sum of other peoples parts.

Tarantino didn’t merely pastiche or parody his favourite movies, he woves sections of them together to craft new narratives within films that stood on their own merits.

It’s worth noting that both artists emerged in the same irony drenched, retro obsessed 90s mileau, but that both of them used knowing references and nods to the past to move their chosen artforms forward. Both were also evangelists for the people who influenced them.

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AMER has done the same thing for it’s chosen genres, albeit to create a movie that’s less straight forward and immediate that Quentin’s celebrations of cinema excess.

Perhaps Tarantino himself can also see the connection, as he’s just put AMER in his top 20 movies of 2010. Check out the rest of the list over at HOLLYWOOD REPORTER

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