Tag Archives: Che Ayende

Mtume Gant: Remembering “As an Act of Protest”

Fellow filmmaker and colleague for nearly 20 years, Mtume Gant, has written a touching commemorative piece for my 2001 cult film “As an Act of Protest,” which recently received a revival screening in Chicago via Floyd Webb’s Black World Cinema…Click the link below to read his liner notes for this “retrospective” which will be included in the DVD package at the end of this year. 

Maverick Intentions: By Mtume Gant 

Dennis Leroy Kangalee's "As an Act of Protest" starring Che Ayende

Dennis Leroy Kangalee’s “As an Act of Protest” starring Che Ayende

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Dennis Leroy Kangalee’s Cult Classic Heads to Chicago in November…

On Thursday, Nov 6, 2014 @ 7pm:

Dennis Leroy Kangalee’s cult classic

“As an Act of Protest” finally screens in Chicago!

Dennis Leroy Kangalee's cult classic "As an Act of Protest" (2002)

Dennis Leroy Kangalee’s cult classic “As an Act of Protest” (2002)

After more than a decade, my first feature film “As an Act of Protest” will finally get its Chicago ‘premiere’ in November, courtesy of Floyd Webb and Black World Cinema. And special thanks to the German and French audiences who were cheeky enough to make PAL bootlegs (the only remaining format available!) enabling an editor here in NYC to slowly re-assemble the footage after a transferring all the video back to NTSC.  Laborious and crazy as it was, it was well worth it since now a new generation has re-discovered one of my most personal and favorite artworks.

It means a great deal to me because this little film never received proper care or attention in the USA in the aftermath of 9/11 and the strange reactionary years that followed.  At one point, no art house or independent theater  in NYC would screen it without being threatened or harassed by local police precincts. The movie actually played to more southern audiences and college universities than north-eastern ones!  Now, with the unfortunate spike in police brutality incidences and racist murders — certain corners of our country are beginning to re-discover and assess “As an Act of Protest,” a drama I made when I was 24 years old, mad as hell, and crazy enough to express my confusion, outrage, and suspicion towards a hostile and racist establishment that governs us – not in a song but in a movie! To this day, it is still one of the best scripts I’ve ever written.  And in 2014, I still believe it stands up as a strong example of protest art in cinema. 

Hopefully we can get some folks in the windy city to brave the weather and get a chance to see this “missile from my youth” and hopefully it will inspire just one another artist to commit himself to speaking truth to power, protesting injustice, seeking ways of resistance, and expressing his or her feelings wholly.  In short, maybe in the gross horror eroding our false sense of stability (“sanity”) and enabling our new depravity — other young artists will decide to shoot a movie – instead of a gun – as a means of protest.  

ActNov

Thurs, Nov 6, 7pm, Adm. $6.00
Black World Cinema @
Studio Movie Grill Chatham Theater
210 W 87th Street

http://blackworldcinema.net/blog/2014/09/23/thurs-nov-6-7pm-as-an-act-of-protest-dennis-leroy-kangalees-cult-classic/

Click here for more information on As an Act of Protest or to view clips! 

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Black Film & The Underground Spirit: 2

Che Ayende (Luis Laporte) as the conflicted actor Cairo in

Che Ayende (Luis Laporte) as the conflicted actor Cairo in “As an Act of Protest” (2001)

“…’Killer of Sheep’ was made the same year ‘Star Wars’ was released — and has not been seen ever since. While brothers are applauding the heroes from a galaxy far, far away – they’re completely inured to their fellow brethren right in their own backyards. The same was true nearly 15 years later when Wendell B. Harris was virtually paid to NOT make any movies. One look at his magnificent ‘Chameleon Street,’ and everyone knew that a powerful voice had arrived. And this scared everybody. I always found it disturbing that that the Black Entertainment Complex had not welcomed him — the man had won Sundance, after all — in the years when Sundance actually meant something.  They did not appreciate him they rejected him.  (Maybe they just didn’t know what to make of him…let’s not forget that old Satchmo himself was terrified of Charlie Parker.)

…In the early 1970’s, Huey P.Newton wrote a stunning essay and review of Melvin Van Peebles’ revolutionary ​”​Sweet Sweetback’s Baaadasss Song​”​and hailed it as a new vanguard cinema for black people – an example of real artistic-political storytelling that the oppressed could appreciate. Huey wrote that he hoped this would inspire a whole revolutionary genre of black pictures. Instead, Hollywood saw they could make money by having a brother on screen and decided to further the ante by “gambling” on pictures like ‘Shaft’ (by Gordon Parks, ironically, whose brilliant “The Learning Tree” has been forgotten even though it was the first major Hollywood movie by a black Writer and Director! Of course, the rest is history and like they have done to Rap music – everything caved in; the Blaxploitation era arrived and all the racist, stereotypical ‘skin flicks’ flooded the world and artists like Bill Gun, Burnett, and even Van Peebles himself vanished into thin air. No wonder Huey P.Newton died in a crack house: he had no movies to go see…”

— from “Towards a Black New Wave & Notes from the Underground,”
(Harlem, August 26, 2000)

(copyright 2000, 2014 by Dennis Leroy Kangalee)

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A Thanksgiving Nightmare: a clip from “As an Act of Protest”

On Thanksgiving day, Cairo Medina (Che Ayende) visits author/Professor Walker Eastman (Ward Nixon) in an attempt to gain solace and understanding as he is descending into madness due to the police brutality and institutionalized racism around him. Eastman has prompted Cairo to take an interest in “Black alliance” and work with other African-Americans to improve their political situation in the West — but only when it is convenient for him. Although both characters give a strong argument, this memorably expressionistic scene is at once absurd and moving due to its acknowledgment that colonization & capitalism has succeeded in destroying the black community at large.

Made with an uncompromising passion, Dennis Leroy Kangalee’s powerfully strange film was an artistic response to the police murder of Amadou Diallo by the NYPD in 1999.

Made with the sweaty thrust of a political punk or hip-hop record, this “cinematic tone poem” was misunderstood by most establishment critics (‘too angry”, and not “hopeful” enough) and was the antithesis of a Hollywood Production, but found a life outside of America and within avant-garde and more politically progressive circles.

— Notes from Donald Griffith’s 2004-2005 Tanz Theater-Black International Cinema Festival program, Berlin & Paris Edition.

NOTE: This footage was re-assembled from various bootlegs and we’ve tried hard to retain the original sound, however difficult.

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Dennis Leroy Kangalee’s 2001 cult classic is now available online!

“Raw, provocative, and demanding.”
— Cara Buckley, The Miami Herald

As an Act of Protest (2001)

Commemorating the 13 Year anniversary of AS AN ACT OF PROTEST, a restored assembly of scenes has been uploaded and released on the web in an attempt to make parts of the film available to its cult fans and introduce it to a new generation as well.

Featuring a cameo by the Last Poets and original music by Michael Wimberly and Charles Gayle, this cinematic tone-poem is a “clear line in the sand” that demands the eradication of racism and police brutality and seems all the more, creepily relevant somehow in the aftermath of the murder of 7-year of Aiyana Jones and Trayvon Martin. Shot on the first Canon XL-1 on the cusp of the so-called “digital revolution”, this feature film was not only representative of a new “urban-guerilla cinema”, but a personal one as well, setting a bar for the new wave of protest art and ‘concrete basement’ film-making that took the ethos of early Rap and Punk and mixed it with a freewheeling desire to express the darker corners of our society and allow genuine rage (as opposed to the offensive, forced pandering of Hollywood media) back into the frame of American cinema. Ambitious and supremely flawed, what the movie lacks in formal technique it makes up with style, passion, and originality — just like a punk band or rap group might have done if they had made films instead of albums.

Gritty, strange, and unexpectedly poetic, this movies is an artistic response to the rampant police brutality under the Giuliani administration in the 1990′s, which culminated in the murder of Amadou Diallo in a hail of 41 bullets by four white NYPD officers, As an Act of Protest was deemed the best black film of 2002 by East Coast cultural critic Kam Williams and developed a cult following.

Not screened publicly in the USA since 2003, the master tapes were destroyed by Kangalee while living in Berlin, depressed and feeling a failure as a “protest artist” and nearly ashamed of his own past work. Renewed interest in the film came as a result of the publication of his poetry in 2010 and the more recent police brutality incidences and egregious examples of racism that only continue to prove that America is “walking in terrible darkness.” Both editor Isaiah Singer and Dennis Leroy Kangalee tried their best to salvage the most recent cut of the film and repair the shoddy sound mix.

“…Powerful…Almost more of a documentary than a feature film, As an Act of Protest aims to teach and shock and succeeds on both counts.”
— Walter Dawkins, Variety

Che Ayende as Cairo Medina, the actor who goes insane due to the racism & apathy around him

Che Ayende as Cairo Medina, the actor who goes insane due to the racism & apathy around him

Re-discovered a decade later, the movie can now be seen as a coming of age story and meditation on colonization, class, violence, and what it means to be an artist–especially in times of great social turmoil and confusion. Although the film specifies “racism” as the eternal evil of society, it becomes a broad metaphor and can be applied to any form of oppression and any circumstance where brutality of thought or deed has encorached upon another living creature’s life.

The result is an exhaustive blend of neo-realism, expressionism, melodrama, and B-Movie Horror. Acerbic, urgent, and emotionally arresting at times — it deserves repeated viewings and the opportunity to be re-discovered. Boasting excellent performances, strong writing, and radical editing, it was Dennis Leroy Kangalee’s first movie and was made as if he knew it would be his only one.

“While watching As an Act of Protest, as was true in a Cassavetes film, I felt as though the principal actors weren’t so much acting as they were pouring out before the camera, depictions of the way people really behave…it is in the scenes where Abner and Cairo discuss with each other, their rage as African American men, that the film is so compelling.”

– Hugh Pearson, author of Shadow of a Panther: Huey Newton and the Price of Black Power in America

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