Slate's The Black Film Canon

Slate's The Black Film Canon's icon

An official iCheckMovies list (adopted from monoglot).

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Seven years ago—when #OscarsSoWhite was a hot topic and Obama was still president—Slate published the Black Film Canon, a list of 50 of the best and most culturally significant films by Black directors. Critics, scholars, and the filmmakers themselves, including Ava DuVernay, Robert Townsend, and Gina Prince-Bythewood, weighed in with their picks. The result was a collection of films spanning almost 100 years, several continents, and a wide range of genres and styles: from Oscar Micheaux’s silent-era classic Within Our Gates to Djibril Diop Mambéty’s freewheeling road-trip movie Touki Bouki to F. Gary Gray’s iconic comedy Friday.

And then, just months after the Black Film Canon came out, Barry Jenkins’ Moonlight made history with a Best Picture Oscar win and Jordan Peele’s Get Out spawned a new cultural lexicon while reigniting the long-neglected Black horror genre. Just a year after that, Black Panther became an unprecedented box-office juggernaut. Since then, many other Black filmmakers, both seasoned and on the come up, have seized on an increasing number of opportunities to tell stories in bold ways: creators like Janicza Bravo, Boots Riley, and Garrett Bradley. Some adjudicators of cinematic prestige—like the once-a-decade Sight and Sound critics’ poll and the Criterion Collection—have finally come around to acknowledging important Black filmmakers after decades of all but ignoring them. Simply put, we’re now living in a different world for Black film.

Yet, as ever, barriers remain. This year’s Oscars saw yet another nominations controversy. The forces that have worked to sideline Black filmmakers have not disappeared. Even as the landscape has shifted, there’s more power than ever in understanding the films that brought us to this moment and the new ones taking us into the future. So it seems only fitting to revisit the Black Film Canon and update it to reflect the rush of great movies that have arrived since 2016, as well as reconsider the films made before 2016 that we missed the first time around. This time, in partnership with NPR, Slate polled a group of experts—a mix of industry and critical authorities from our previous list, as well as some newcomers—and we’re thrilled to present the results in our New Black Film Canon. Use it as an opportunity to appreciate the breadth of artistry Black filmmakers have brought to the movies—and as an unbeatable viewing list deep with surprising treasures.

The project excludes movies about black people but directed by non-blacks (A Raisin in the Sun, Coming to America). It is also not a poll: it’s an unranked list presented chronologically.

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