Milwaukee’s Most Humble Never Disappoints: On Set With Tiera Trammell | By /CW Guest Writer Jolee Mallmann

Tiera Trammell comes off quiet, confident and quite sure of herself. The first few times I met Tiera, I was a little struck by her abundant aura of cool to introduce myself. With every mutual friend and filmmaker I knew between us, I found myself asking, “What is Tiera like to work with?” Tiera Trammell was a total enigma to me. So many filmmakers and artists in the city follow a public route; you know who they are because they tell you. But Tiera seemed to let her work speak for herself. I just hadn’t had the opportunity to work with her yet. 

Finally, I had the opportunity to work with Tiera on the set of a mutual friend and filmmaker Breanna R. Taylor’s short film In Holding. I joined the set for SFX Makeup and Tiera was a Producer. It was a perfect opportunity to really see how well she coordinated the chaos of a film set and honestly, I was immediately impressed. While I was able to stay parked on set behind the scenes doing makeup for talent, I saw Tiera and the entire production team running circles around the entire location making sure everything happened on time, the way Bre had hoped it would. After In Holding, I had my own plans to shoot a second short film and knowing the direction I wanted this production to take, I knew I wanted to invite Tiera to join the crew.

Trusting someone to join your set for the first time on an indie production can be a gamble even if you have met them in person before. When the budget is low you can’t expect a lot from people. To give their free time away or even take off for your low budget short film is a lot to expect. Tiera showed up every day of filming with a clear head on her shoulders. While I was just getting to know her between the busy tasks of a filming day, she kept me oriented as a director and her personality was so easy to bring into the flow of my set. I could trust her to keep us afloat as our 2nd AD, but it was more than that. She read the script notes and stayed in the scene with the actors in a lot of key moments that helped motivate our story. The suggestions Tiera made during filming made me wish I had her involved in the writing of the script. What sets Tiera apart from a lot of filmmakers and creatives in my opinion is her connection to story and comedy. She’s a friend that I see willing to help the fellow creatives in her life, but Tiera is more than a hard worker, she’s a filmmaker with a clear narrative vision. 

I think we will be hearing a lot about Tiera Trammell and the work she’s a part of in the upcoming year. Milwaukee is very lucky to have someone as kind and community-driven as her behind the scenes but I’m personally hoping to see Tiera take the lead in more Director’s roles in the near future. This interview has been a long time coming, so I really hope you enjoy learning a little more from Tiera. 

Where are you from and where are you living now? Do you feel like your experience growing up and your background with Milwaukee have had an impact on the kind of projects you choose to be a part of? 

Hey, I’m Tiera Trammell. I’m from Milwaukee, Wisconsin. I say I grew up on the Northwest side, near 60th & Silver Spring and Westlawn but I also moved around a lot so I’m familiar with a lot of places. I’m still living in Milwaukee, on the east side for now. I spent a lot of summers in Tennessee when I was younger as well. I feel like that has significantly shaped my outlook now as well. I definitely see and know growing up in Milwaukee has had a huge impact on my projects and projects I like being a part of. Projects I think about the most are directly tied to the everyday things I see here or things I’ve experienced. I like stories that seem familiar, or stories about relationships whether that’s friendships, familial or romantic. I think relationships and relationship dynamics are universal so I like to work on projects that explore those.

You’re a pretty avid runner. Do you feel like the meditation of running finds its way into the craft of filmmaking for you?

Yeah… I be running. Shout out to my cousins who got me into it, cause I always thought it was the craziest thing to go out and run for miles, one mile was already stretching it.  Running is like a mindgame for me. I really think it builds my mental endurance seeing how far I’m able to push my body and mind through discomfort, pain and plain just not wanting to mentally. I think that shows up in filmmaking for me by just sticking with the thought that pursuing this craft is worth it and can be an actual sustainable path. When things get hard, being able to adapt in real time, finding alternative routes when one seems like it’s not going to pan out for the best. When you’re in a race there’s a finish line. I look at every goal like that now. There’s no mistaking if you did what you needed to or not. I said I would never run a marathon, but it might be on the list in the next few years. When I need another mental push. Right now I'm chilling with my 13.1. I think any type of regular exercise is good for anyone who works on hard things. When you’re able to show yourself, and see that you can push past your limits, your mind automatically starts thinking of new ways to succeed rather than quit. 

Has Milwaukee's independent film community shaped your work in any significant way? 

Absolutely. I’ll speak from my experience where I’ve really got the chance to come on people's sets and learn in a way I never would’ve been able to, not going to traditional film school. I feel like there’s some great people out there willing to answer questions, and be patient and give advice for someone who was once so and still am in a number of ways inexperienced. So now the way I work is to also try to create those types of spaces and opportunities for people. Another thing that goes into that is also seeing people willing to work with limited resources and still put out very good projects is getting me out of my head. It’s allowing me to be more creative in how I achieve something and not focus too much on it needing to be like “picture perfect” or look a certain way to be considered a worthy piece of work. I’ve seen people pull off ideas and I’ve been like “Oh I love how they did that” and getting ideas on how to “cheat” stuff with the resources I have. 

What is your favorite genre of films to watch in general and what are your favorite kinds of films to make?

I think right now I’m really into comedies. I’m thinking of some more dramatic stuff as well, but mostly comedies. I feel like I laugh through a lot to process life. And have had to figure my way out of a lot and the best way through it has been finding a way to laugh through it. As far as genres to watch, I can’t lie, I really love romcoms, or like whatever brand of comedy of “This is 40” is. I like “good bad” movies. Idk how to describe that better than that. I like feel good movies! I like a movie that’s gone make me laugh and that I’ll watch 20 more times. I love dramas too. The only thing I really won’t watch is horror or witch crafty for real. Like I mentioned before I like stories about relationships between people so I would say I like themes more than genres. Movies about friendship/ movies about choices & decisions / movies about perspective / movies about historical events. I was just able to get into period pieces after seeing “The Harder They Fall.” I love experimental films. One of my friends was over checking out my movie collection and they mentioned I have a wide variety of films so I couldn’t tell you. I’ll watch whatever if I’m in the right mood. Back when you could buy movies in the store, I’d just pick something off the cover and the price. 

You’ve worked on multiple local short films, features and series. What are some of the projects you enjoyed working on the most and why? 

I will never stop talking about trying to get a casket on top of a mini SUV and safely drive it back from Waukesha to Milwaukee for In Holding. I think that’s when I really started believing in the determination of Breanna Taylor. That was definitely one of my favorite projects to work on to really see from beginning to end. It taught me a lot. I learned a lot and didn’t feel the pressure of messing it up so much but more so like wow, we’re making a film. It gave me a battery to be like wow, I did that once, I bet I could do it again with and with everything I learned from the first time. The crew was great, I really liked the way that set felt. Same with working on Cursed Tooth! I thought so many times like “Wow, this is a beautifully curated team.” And I feel like that starts from the top down, so shout out to Jolee Mallmann for putting that out and getting everything on board. The personal touches of photos, scripts, and shirts were super cool too. On top of a great idea and script, I could tell Jolee really thought A LOT about the people who were involved, who would view it, who were supporting it and they made everyone feel like a very vital piece. That’s definitely something I’ll be putting in my bag. 

How did you get your start in filmmaking and what was your inspiration to start in the first place? 

I’ve always wanted to tell stories. I took a documentary class while I was in undergrad. I originally pursued journalism because I liked telling stories, hearing about people's stories, and reporting on stories I thought were important. Once I took this class, I’m like I don’t have to confine my storytelling to this lane. I’ve always always wanted to write a book that was going to get adapted into a movie. That was my literal goal. And I’m like, why don’t you just write the movie… I think back when I was thinking journalism I was also thinking of being like a media writer, writing on music and movies. Then I started to not like that idea either because I also think you can't be a legit commentator if you’ve never been in it and done it before. So after I stopped trying to critique movies, I’m telling myself like well you make something.  

What’s your favorite role to play on set and why?

I really want to AD but I haven’t yet. Mostly because I really think it would be like cracking a code figuring out how to be on time. It would be a good challenge for me. Being a PA has allowed me to learn a lot and practice different roles, and be exposed to a lot. Right now, I’m loving trying my seat in directing. Being able to make that creative choice of course always feels good. I also want to edit more. I would love to be able to tell the story that way as well. Maybe I’ll start seeing who trusts me enough to try it out.

Who are a few filmmakers you find major inspiration in? 

You know, I grew up in a time where most of the movies I watched were around the house. I mean, I’m pretty sure I went to the theater to see new films but I don’t really remember going until High School. I was watching a lot of movies about Black families and friendships like Soul Food, The Five Heartbeats or The Best Man. I feel like a lot of my influence comes from Keenan Ivory Wayans and the older Wayans family members in general. The standup or sketch comedy and spoof movies from the early 2000s back when I was very impressionable.  Robert Townsend for how he displays characters and relationships, Michael Gondry for his experimental films. Whitney Houston as a Producer. That was like my foundation. As I got older I got to know more of the women filmmaker catalogues and got exposed to Kasi Lemmons, Portia Cobb of course. I was really stuck on the kitchen scenes in Portrait of a Lady on Fire so I’ve started trying to pay more attention to Celine Sciamma films. There’s probably more I’m missing but I think I got the creators of most of my favorite films. 

Do you have any fun memories from working on film sets? Could you describe any challenges or learning experiences from your time on different sets?

I’ve really learned to just treat everybody with respect and consideration. Speak to people, greet people, say goodbye when people are leaving, address people by name. The work that people are willing to put in when they feel respected can’t be matched simply with a check or dollar amount. Right now the funniest moment on set was when we realized we ordered catering from somewhere in Appleton, Wisconsin instead of the Appleton street in Milwaukee. It wasn’t funny then but it’s funny now. Definitely was a challenge considering I think we spent our last few hundred dollars that we literally had in the bank, in our pockets, whatever. It’s perspective shifting when the budget runs out or we’re running out of time for something but there's still money that needs to be spent or a shot that needs to happen. You need to get creative. It was also a plus having people on our team that were quick with problem solving, resourceful, able and willing to jump in where needed. So back to the people, it’s good to have good people around you who care about the work, project and crew as much as you do. 

Do you have any advice you can share with someone just starting their career in film?

Just do something. Try something and see it to the end. Put something out. It’s not going to be perfect, it might not even be good but you can’t just keep all of your ideas and work to yourself. The more you do the more you learn. You learn about your voice, your audience, what works and what doesn’t. But you have to put something out. You have to let it live in the world and be whatever it’s going to be. Then close that chapter and  move on to the next thing. So cliche but just stay consistent and develop some discipline around something, anything. It’ll have so much impact on everything you do.

What are you looking forward to next in your career in film? Do you have any projects in the works or things you’re excited to try next?

I’m really looking forward to sending out First Impressions to a few festivals. That was like my first project and we shot it this past summer. Right now, I just want to focus now on building some creative techniques like shots, color and trying out different stories. I feel like working on a bunch of mini projects, 1-3 minutes, I can learn quickly from. I have a couple feature scripts I wrote that I would like to revisit. I’m also looking forward to building a community and a regular team. I love when I see people have done that and think it makes for a really solid foundation. 

Where can we find Tiera’s work?
@19inety3 on Instagram just to know what I’m up to and what’s coming.
@TProducing on YouTube. You’ll find some BTS and more random things I’ve uploaded. I need to use YouTube more.

---

Into independent film? Want to learn more?

SnapShot Press Release | Building The Nest [Milwaukee Film Festival 2025]

Spring has sprung [rain, fog, blooming flowers, scorching sun, *insert any other Wisconsin weather description here*] us right into Film Fest season [Milwaukee Film Festival, that is]. With the birds asking us to rise early [chirp chirp, tweet tweet], and the cinema asking us to stay up late, we must oblige with a caffeinated drink in one hand, a bag of yeast-covered popcorn in the other, and a press pass around our necks. This year, CopyWrite decided to see films that would feed into our guilty pleasures, challenge our humanity, and have us screaming “414” all the way home. 

With coverage from Lexi S. Brunson [Owner/ Active Editor-in-Chief], guest commentary from Vedale Hill, and a first-time MKE Film Fest experience from the newest memer of the /CW Fam, Desriana Gilbert [Entertainment & Social Journalist for /CW].

---

SECRET MALL APARTMENT [Director: Jeremy Workman]

Let me tell you… I almost broke my ankles from running to my copy of Theories and Manifestoes of Contemporary Architecture [which holds a permanent spot in my studio] after watching Secret Mall Apartment, [Twizzlers shoved into my mouth, and swigs of root beer between every bite].

Context: Before I was whatever pseudo journalist, creative writer, cultural critic, and exhausted business owner I am now, I was a young college art school student studying interior design, fascinated with spaces & places [iykyk] and inthralled with the criticism of urbanism as it appeared in post-industrial society. [Yup, been deep].

The film was reminiscent of the nuances that lay between what always appears as communal advancement, but is undoubtedly the practice of gentrification [damn you gentrifiers and your need to fondel all things sacred]. I held my book, hugged it, and thanked it for giving me the lexicon of understanding that would have me rooting for the artistic lotterers that decided to inhabit a void [crawl space] in a mall in Providence, Rhode Island [circa. 2003].

As these “empathetic artists” discussed their experience, with Michael Townsend at the lead, we uncovered the genius of thought, practice, and execution. How the hell do you go unnoticed, coming, going, and building a decoy cinderblock wall for four years? As a Black woman in America, I cackled and the “caucacity” [don’t cancel me because the artist acknowledged their white privilege], but I envied the type of exploration that I will never know as my own. The freedom and inquiry that eventually felt safe and earned was a humorous slap at capitalism, policy, and the act of noticing, most of society could use a lesson in. 

However, what really did it for me was the archival footage [the documentation of the art, as art] showing us exactly what was going on as they lived it. The foresight to capture the day-to-day was ahead of its time. If this had been the peak of social media, the sirens would have sounded at the geolocation posting, descriptive caption, and hashtag [#MallApartmentEntryOffTheParkingLot]. 

But instead, Townsend [maybe subconsciously lol], who had long before declared, “It’s going to be a really awful day when our door opens”, got caught after bring his “friend” [don’t make me speculate what type of “friend” you would blow your cover for] to the mall apartment during the day after knowing the block was hot! And before that, during a shadowbox crafting session at Pottery Barn. It’s giving Usher Raymond confessions, my guy! 

But as an artsy, stick it to the man, type of rebel I am, Secret Mall Apartment, brought me so much joy, knee slapping laughs, I mean I almost fell out of my seat onto the theater floor when they decided to carry that china cabinet up those ladder steps. . . A full-sized 200+ pound china cabinet with the glass inlay. Come on now! Y'all some BOLD, Gooney Goon Goons, and I’m here for it!

The concept of them holding space like “barnacles on a whale”, notes a symbiotic relationship that seems parasitic but is commensal, or of service. Who is harmed by these artists taking up a void versus who is harmed when a developer displaces culture?

Because let’s put it this way, if art resolves in crime, its an honor to be guilty. 

 Lexi for /CW 

lexi & her obligatory steo & repeat pic for mke film fest 2025

---

A MOTHER APART [Director: Laurie Townshend]

Do you need to experience a mother’s love in order to gift it to the bloodline coming after you?

Staceyann Chinn unapologetically and actively searches for this answer throughout groundbreaking and unsharpened film, A Mother Apart, in front of our eyes. Multifaceted is an understatement when it comes to describing the Urban heroine. Juggling countless identities that seem to cause unnecessary stares, whispers, and questions [the tropes: lesbian, “underground” creative, LGBTQIA+ activist] , and Jamaican-American, creates an eventful and unknowing journey. However, only two chapters in Staceyann’s book bring fear and uncertainty; their strengths and weaknesses as a mother, but most importantly, a daughter.

Director Laurie Townshend sets the stage early for audience members to see the genuine and strong intentions Staceyann has wanting to parent her young and vibrant seed, Zuri, in a way that was never shown or gifted to her as a young child. One would expect for the voided receipt illustrating the relationship with her mother to be accessorized with resentment, hatred, lacking a longing for connection, loveless, and unfamiliar. Yet, Staceyann made it her mission for years to reenact the final scene from The Color Purple, where Celie reunites with her children from Africa with her mother, and made it her lifelong wish to create an unbreakable bond with a mother who abandoned her at birth. The talented poet was issued several chosen families throughout her performances at poetry slams and showcases, but home is a feeling she still longs for as we watch her on the screen.

Chinn’s quest is to find the woman who shared the most heart-wrenching and vulnerable experience of birth, but who also abandoned her, was becoming more of a challenge and a dream that would never be reached. Townsend added the element of long-lost letters addressed to Hazel [the mother who had the nerve to leave her child], which Staceyann found to alleviate and strengthen the process of reuniting with her mother. This journey began to make marks in Brooklyn, Cologne, Montreal, and Jamaica. Scene by scene, the missing puzzle pieces to who Hazel is, why she made the choices she made, and what her story is started to reveal itself after each letter Staceyann found. While in the audience, it was painful to view, yet there was a pride in seeing the battle she fought within herself to avoid repeating the same choices her mother made. Laurie Townshend captured a cinematic montage of motherhood, the true meaning of home, breaking generational curses, and the power of how a child can change the trajectory of one’s life.

It was a tear-jerker but also an eye-opener to never take for granted the relationship you have with your mother. It’s nothing like Mama’s love. Most importantly, the film suggested never become who and what hurt you; always choose peace, happiness, and personal growth. 

It was her choice to overcome pain that helped Staceyann find herself in the end, and become the mother to Zuri she always dreamed of being.

Desriana for /CW

---

BLACK LENS SHORTS

As I walked into the theatre, I felt a different aura and band of energies than I had before. It was almost as if everyone at the Oriental Theatre that night had a secret group chat before arriving, and we all became on one accord: FEEL, SEE, AND IDENTIFY.

I instantly fell into a motion picture trance as the screen became filled with Black stories and faces I’d never witnessed. From animated black and white depictions of civil rights activist Martin Luther King Jr., to toxic black love, 1930s jazz singer escaping selling her soul to the music industry, a son imagining his deceased father, and a young director being misunderstood by his traditional African mother, each short film held its own weight. The highs and lows of what people from the African diaspora experience and pass down to one another was the foundation laid and the framework that ties each short film to one another. 

Hoops, Hopes, and Dreams [Director: Glenn Kaino]

The shorts began by providing an important lesson to the audience, myself included: our heroes are more than statues and history books; they are human beings too!  Hoops, Hopes and Dreams, directed by Glenn Kaino, awakened everyone within the first two minutes of the film, as it painted Martin Luther King Jr, and Barack Obama in a new light; just simply human beings. True stories of MLK and Obama playing basketball with everyone in their neighborhoods and then implementing their mission to make the world a better place for our people and culture are depicted in a raw and familial way. It made these two heroic leaders feel real and relatable. This shed a spotlight on to many other civil rights activists, Black businessmen, and leaders who have stood at the forefront of changing the Black experience and perspective in places that don’t always appreciate or understand the brilliance and magic we hold. They are more than pictures on a slideshow at a Black History Month program or the name of a street; these were walking and breathing human beings who enjoyed the same pleasures as everyone else, such as sports, brotherhood, and pure fun [& still managed to move the needle forward].

SONGBIRD [Director: Jonathan Horton]

A bird's-eye view was used throughout the entirety of Black Lens Shorts. They all honed in on the love creatives have for their work, but also the disappointment when their environment and people don’t understand or want to resonate with their art. In the words of the intelligent and talented lyricist Erykah Badu, once said, “I’m an artist and I’m sensitive about my S#@T!” The phrase should’ve been put on repeat while each film was being presented. It represents how, as Black people, we don’t usually experience fairy tale endings or the impossible miraculously happening for us. The Black community has always had to take matters into their own hands when it comes to going after what we want in this lifetime. Jonathan Horton’s Songbird accurately showed a gorgeous Black woman who could tear down any house with her voice, singing jazz medleys in the 1930s, wholeheartedly in love with music. Sounds like a golden ticket for a Black woman during that period with her community loving and supporting her, right? That would be too easy. The short film shows how the FBI and other white men in power tried to silence, threaten, and minimize her place in the world.  Instead of allowing fear to overwhelm her mind, body, and soul, she continued to become a household name, but in the end, the FBI succeeded by strangling her, stealing her ability to sing with strangulation. Silencing Black voices is a common narrative in our history. We must continue to ask ourselves, “Why?”.  

ABOUT TIME [Director: Donald Conley]

Donald Conley, director of About Time, said it best in his Q&A after Black Lens Shorts concluded:

“Films are not only physical manifestations of the director’s thoughts, but it is also snapshots of your everyday lives. This is why I incorporate several aspects of my life through the films I write and direct.”

Conley reimagined his own breakup with an ex-lover to light the fire for About Time, presenting an authentic yet soulful connection between two people who love each other but love replaying their toxic cycle even more. The elements of “running into one another”, making love, and drugs simmered down the thick tension which fooled the audience, making us all think in the end the two would choose each other and attempt to have a “healthy” romantic love. I felt like the mama bear friend desperately trying to tell my homegirl, “Girl don’t just walk but run away from that man; he’s wasting your time!” Have you ever felt like when you're around a certain person, it’s only you two in the entire world? Or that nobody will ever comprehend or understand you the way that person knows you? Conley did not shy away from those uncomfortable, unreserved, yet necessary conversations that needed to be had between two people who imply their hearts belong to one another. We all know love can be messy, but it is also a choice. Looking past the imperfections of your partner, actively waking up every day, and choosing to stick by their side, trying to brainstorm ways to spice up the relationship are not cakewalks. On the other hand, sometimes you can love somebody more than life itself and show them by simply walking away from the relationship. 

There’s beauty in discovering things about yourself. Every day we learn things about ourselves that weren’t clear days or even weeks before. The 2025 Milwaukee Film Festival was created with not only eye-catching films but also intentional meanings whose punches landed in the screening rooms and now, in the city of Milwaukee. It’s so easy to get caught up in what’s happening around us and who's roaming the world right along with us; but self-discovery and reflection are a gift that’s always going to keep on giving as it feeds our souls as well as our physical lives. This is a reflection of being in our Black bodies.

Desriana for /CW

---

ONE MINUTE REMAINING [Director: Colin Sytsma]

I have never seen the act of rehabilitation as a proponent of the justice system performing well. It has always been presented to me in “legal terms” as a control mechanism for nuisance in society, a social method of keeping outcasts isolated, and essentially a way to break humanity. I don’t want to get on my soap box [because I’m heavy & it will break], but it seems as though the compassion standard for others goes out the window as soon as they get locked in a box, chained, or shackled. 

It's MASTER manipulation at its finest [clock it]. 

One Minute Remaining, with its exploration of incarceration through the lens of, “women and families across the United States managing their loved ones incarceration while searching to articulate their frustrations,” is a reminder that doing time burdens more than the human who did the “crime”.

The Partner.

The Children.

The Parents.

The Siblings. 

*Fill in the blank*

While they may not be bound by bars and fences, they face the sentence through payment penalty on the incarcerated's behalf, time navigating a system that does not prioritize the human needs of the incarcerated, and the mental/emotional exhaustion that comes with supporting your family member or loved one in that predicament. 

It is a conversation that I have had repeatedly with my partner, who, as a Black man, is 5.5 times more likely to be incarcerated than his white counterparts [innocent or not], that if he ever does something that would cause him to be taken away from his family, our children, or I, my stamina for “holding him down” would be limited. It is a warning, not because I think he is a menace to society, but because I have seen the volatility of the Black body, the mistreatment of the incarcerated, and the pain we all will inevitably face in that predicament. Why would I not plant a seed of avoidance as protection?

You could feel the anxiety come through the screen as family members told the story of their incarcerated loved ones. Julie Magers ' son's emotional navigation was unnerving, with his uncertainty of what would happen to his father while locked up with Multiple Sclerosis. Is he not a victim of the situation? That child's resilience is not a badge of honor but a sign of distress. His mother, chain-smoking her nerves as she fights for the rights of not just her husband, but also navigates a career of advocacy for others in similar positions, was also unsettling [coping vices are not our friends].

The digitized voice of “one minute remaining”, sounding as the end of each documented call fastly approaches, prompts us with the fact that time is limited, fleeting, and unstoppable. How we use it can help or harm, give or take, champion or corrupt. The documentary style shows us unprecedented wins, but can not uncover the core of the issue, and maybe that's a good thing. Maybe the uncomfortable feeling is meant to keep us grounded in the reality that this is not resolved, but ongoing.

----

Also, shout out to producer Justin Gordon, whose work on The Stigma of The Durag has had us thrilled to see his contributions to projects with social & cultural narratives, like this one.

Lexi for /CW 

---

BRADY STREET: A PORTRAIT OF A NEIGHBORHOOD [Director: Sean Kafer]

As a Milwaukee “Eastsider”, Brady Street is a part of my origin story, my familial odyssey, and my foundation of independence. From my grandma taking me to Peter Sciortino Bakery for a cookie as she recounts her adventures of crossing over the Holton Street/Van Buren bridge [then a slated timber frame death trap] to get home from school after picking up supplies for her mother at Glorioso’s, or my walk of distress after a cathartic heartbreak with a garbage bag filled with my things swinging over my shoulder as I tiptoed past Rochambo and the High Hat craving a coffee and a stiff drink on my way to Walgreens to get a Tylenol for the hangover and a life line. It is a place of familiarity, history, with a mystique that is welcomed by us creative types, vagabonds, and spirited hippies.

Soooo if I’m critical, it's because I really love this little slice of convergence.

I’m just going to say it. . . Where are all the Black people? Did you forget to include us in localized history? Or just didn’t have enough screen time, so we were edited out? In the joy it brought me to see the acknowledgement of Indigenous people as the originators of the area [hey cousins!], I could not shake the idea that Brady Street culture, where dominated by Polish and then Italian settlers [a fascinating history], is void of Blackness outside of crime, and attendance of the Brady Street festival? Nahhhhhhhhhhhh! We have to put that part back in.

lexi about to watch the brady street film with trying to stay warm [blanket any one]

The entrepreneurial history of Brady Street is beautiful. Starting these small bar, shops, and restaurants, growing them into communal staples, reimagining them for future generations, and repurposing building shells that house souls of courage, community, and “classy” capitalism, is absolutely the narrative I was looking for when deciding to see the film. However, the economic sustainability of the area is threaded with Black contributers that were never noted.

In the hysteria of white flight, those who had established roots on Brady Street fled as an insurgence of melanated faces appeared in Milwaukee during the Great Migration. These property owners [some of whose family had been squatters in previous years, but I won't hold you on that], while domesticating suburbia, had tenants renting their flats, lofts, and storefronts. And guess what those payments did? It allowed for the property tax and mortgages to be paid, keeping the area afloat, and tanneries to be manned [until that was no longer a viable practice in the city proper]. And guess what else, many of those tenants were BLACK.

“My father was there”, Vedale commented after the film concluded. “Pulaski Park, Peter Sciortino, that neighborhood bar right on the corner, where he would linger sometimes. . . We know Brady, but this is not our Brady, but we still honor it. The sidewalk art by Pamela Scesniak is iconic, and as an artist, I value that labor. Its deterioration and green application look like the patina of ancient ruins, meant to document a rich history and culture that is still alive today. We know this story. We don't have to watch a documentary to get that truth. Now, let's go to Zaffiro's. I have a sudden craving for pizza.” 

That’s when it hit me, the missing piece of the Brady Street narrative did not remove the history from existence. It just showcases a limiting perspective that can’t be found in a history book, news clippings, or archives. It’s anecdotal and personal, passed through breaking bread or toasting spirits, remembered in practice with purpose. Walking the ground, feeling the cement under your feet, leaning against a facade as you people watch the neighborhood and recollect. 

A flash of a photo of my daughter walking down Brady Street with her class on their daily adventure confirmed it all.

The legacy of Brady Street continues.

Lexi for /CW 

---

THE MILWAUKEE SHOW I

#SupportTheLocal #414 #MKE #WeLoveMilwaukee
If it’s made by local links, you know we can't resist. This year's Milwaukee Show shorts sent us mixed emotions. Some we loved, others we were just not in season for, and others we just really appreciated for their craft and technique. In a community where the creative economy is not valued as it should be, we will always support those who make because their is a force inside of them that must come out and be shared with the world.

Here is my hit list:

DAG Camera Repair [Director: Atesh Atici]

There are few master Leica camera repair technicians left in the world, and Don Goldberg is one of them. That’s it. That’s the plot.

To be the last of anything is a weird accomplishment, but to be so sick of answering the phone because it is ringing off the hook, and you are literally one out of 5 people in the world that can actually do the job is wild! And Millennials are out here millennialing, stressing the poor man for their quirky nostalgia of film photography [geeeeeeeezzzzzzzzzz artsy are we? Lol]

Atesh's take on this story is comically nuanced. His subject [Don] is a star, hidden in the back room of Leica parts, little screw drivers, and inbox of unanswered emails. But it was the breakout scene with the miniatures that threw me every way but straight, and that's the art of it. You don’t know what genius lives in everyday people. And even geniuses get sick of doing what they are good at too..

Legacy In Motion [Director: Brandon Stearns, Brema Brema]

They SNAPPPPEEEEEDDDDDDDDDD! 

I really love it when creative talent converges. Film, choreography, fashion, lifestyle... the combo is always going to be a win for me. But the real bliss is knowing the magic is being made by people you know. Here I am screaming & jigging in the theater when I saw Brandon [shotbysterns] name come across the screen, with Brema Brema at the helm of Unfinished Legacy, and my recollection of his stint in agency media production behind the lens. I have had the pleasure of collaborating with Sterns as a freelancer on some /CW projects and interviewed Brema for a Sneex sofa session, so I know how serious each of them takes their craft and how committed they are to their work in documenting the creative community [#WeSeeYou]. 

But its the skill, the lighting, the ability to capture a vibe with no words, every pop lock, leg bend, and toe twitch glided through the frame. A music video-esk lifestyle art display captured in time? Yea, lets go with that.  Its so beautifully Urban. Make it a downloadable wall paper so I can let it loop on the screen in the studio, K? Byeeeeee.

Zastava Brothers [Director: Pep Stojanovic]

Once upon a time, Pep let the /CW fashion department host a Streetwear runway show in his space. Cars lined the runway, old school with unique profiles and retro color ways. Come to find out, these are the Yugos. 

To see the story behind Pep’s love of these distinct cars, matched with eagerness to share this love and joy with his daughter, resulting in an automobilic [Did I just make a word?] brotherhood, was not on my MKE Film Fest playing card. However, just like that, I’m pouting at the found family, and the camaraderie over car culture that could easily be a story of pain, hate, and a tow home.

But here we have joy, an “extra wire”, and a “keep the camera rolling” moment that brought us this pièce de résistance in a cinematic hug, I hope stands the test of time. It’s hard to make friends that you actually bond with at a big age, and here we see that what was coined “the worst car ever made”, could do just that.

---

It feels that this year's filmic experience culminates in an instinctual urge to prepare spaces to share with the people, culture, and community one resonates with. This form of nesting [see what we did there] is crucial for survival, but it's a cascading thread of intimacy really binds each film, each narrative, each plot, to be about something bigger than itself.

We are all a part of something bigger – hopefully, we can continue to build this nest together.

Love & All Things Urban, 

/CW Fam

/CW Introductions: Jolee Mallmann [Guest Writer]

We are excited to introduce a new guest writer, focusing on “up and coming local filmmakers and film projects”, Jolee Mallman.

“We are constantly exploring ways to tap into the diverse creative industries we have in Milwaukee & of course in the Midwest. So when Jolee reached out, it just made me excited to see someone exploring film because they love it and want to share it with the world. You better believe we are going to make room on our platform for that!” - Lexi S. Brunson | Active Editor-in-Chief /CW

Jolee is a Midwest artist and filmmaker living in Milwaukee, Wisconsin. They have a passion for narrative filmmaking, sketch comedy, and independent productions. Jolee got their start in filmmaking with a local/low budget/community makes it happen mentality ala "Be Kind Rewind" 2008. 

---

Be ready to explore more of the film scene with a twist, with monthly

drops from Jolee on copywritemag.com/blog.

Family Groove | A Film by Ria

“In West Philadelphia born and raised, on the playground is where I spend most of my days”

“It’s a rare condition in this day and age, to read any good news on the newspaper page”

“Martin, I’m the man” 

These are the jingles that must run through your head every once in a blue moon. I’ve heard they give the feelings of nostalgia, comfort and relatability. This is why many corporations, people and communities try their hardest to replicate that sultry and fun 90’s type vibe even though it is extremely difficult. This week I stumbled across a short film that stepped up to the plate when it came to bringing the 90s world and energy to present day!

“Family Groove:” created by the 414’s very own Ria had everyone and their mama in a frenzy when it dropped on IG. As I watched the film, the color scheme is what stuck out off rip. It was a canvas of shades from hershey brown, ruby red, to butterscotch yellow. They made you feel welcomed and as the viewers were right along with the cast inside the film! It caught me off guard that there were no convos but you could still feel when to laugh, jam out to the film, and catch on to what was happening. The infamous dance scene from House Party with one of culture’s famous duos Kid ‘N Play is the closest image I can paint for you all as to what energy will be witnessed from “Family Groove”.

Not only was the short film lighthearted and fun but it also came off real. The set looked the the average crib and not some jazzy Airbnb that Ria could’ve easily chose. A variety of different interpretations can be made but I’m glad it showed our people in a light that hasn’t been flicked on in a while. Every brown and black person’s family life is not always dysfunctional or struggle rather it can be just as witty and fun as the next person’s! From the fashion; styled by ours truly Carlos Vergara Jr, to the choreography and chemistry of the cast; this is a must-see!

Go watch “Family Groove” on Ria’s IG and let us what you think. Here you will see young creatives from Milwaukee enjoying family-friendly fun with one another.

Desriana Gilbert | Entertainment & Social Journalist for /CW

SnapShot Press Release | To Be Seen [Milwaukee Film Festival 2023]

We love the Milwaukee Film Festival, not just because it's the one time of year we can do our job while sitting around eating popcorn [yes, we will mention popcorn every year because we trying to get a popcorn stipend too lol]. But because every year it gets better. More films we love, more screenings of things we are interested in, and more programming that makes us feel seen. Being seen is something that is undervalued. But we know that representation changes how the world engages with differences. It is how we find understanding in the unknown and clarity in a vision that is not our own. CopyWrite explored the Milwaukee Film Fest 2023 through the joy of being SEEN, and here is what we found. 

---

BAD PRESS [Directors: Rebecca Landsberry-Baker & Joe Peeler]

We take our profession seriously!

Where it is in CopyWrite’s nature to bend the rules, redefine tradition, and grapple with the culture of “Media” we do so with care [& strategy], that is thoroughly directed by research, transparency, grappling with the woes of disenfranchisement, and engrained with the responsibility of Free Press. So when these ideologies were at risk of being dismantled in  Directors Rebecca Landsberry-Baker and Joe Peeler, “Bad Press”, my soul jumped out of my chest and I felt that my own livelihood was on the line. 

If you look up the saying, “If you don’t stand for something, you will fall for anything”, a picture of Angel Ellis should be attached. Her controversial approach to defending Muscogee Nation against press censorship is GAWDS WORK, okay! To not only go against a political institution, but also the corruption that is unnerved by the historical rhetoric of Native American need for sovereignty, had everyone I saw in the film screening break into mass hysteria [or was it just me?]. 

With this feverish concept that the press is a unneeded, sh*t show of falsity in today’s society, running at an all time high, to note that my freedoms as a “media maker” are seldom called into question, had me in tears for Angel and her other “native” press counterparts. How dare anyone try to put their hyperbolic feet on the necks of truth [just because it's not always pretty]. How dare you use the tactics of your oppressors on your own people [my Choctaw, Blackfoot, and Cherrokee blood was boiling]. How can you not see that the historical lack of information to these people has left them all traumatized by genocide and the true ills of treason. 

Lexi acting like she wasn’t just crying after the screening of bad press

Every time Angel's anxiety shot her into a frenzy that sent her running to the door to spark a cigarette, [I don’t smoke] but I felt the need to light one up with her. The attempt to get protection of the Free Press as an amendment to their nation's constitution was unprecedented in “Indian” Country but with Angel, and the true staff of Mvskoke Media, the fight was on. I think “Bad Press” should be a reminder to all that what is privileged in your reality is not inherent in all futures, cultures, and lands. 

Just know at CopyWrite, if we have to fight for our rights, we absolutely will. They will never take our voice!

Lexi for /CW

---

BLACK LENS SHORTS: BLACK REMEMBRANCE

Somebody clap for this year's Black Lens Programmers, because THEY - DID- THAT!

You don’t even know how good it feels to be SEEN. Not that fake “lets hit this quota” monotony most institutions try to pass off as diversity & inclusion [Y’all are shamefully fake] but the real attempt to dig into culture as a reflection of its genius as nuanced as a day in the life of some, not all, and more, not less. The Black Lens shorts at Milwaukee Film Fest 2023, did that for me.

proof we were there!

Eye for an I [Director: James Grisom]: To be seen Vulnerable. This short is a music note of the burden of Blackness & the beauty that straddles that space. If you love hard it may mean death comes with vengeance. If you forgive easily, that puts you at risk. It is a trauma we did not create but a lexicon that gathers a dark cloud above our legacy. The rules of engagement simply mean we never win.

By Water [Director: Iyabo Kwayana]: To Create a sense of seeing. This short had me like, “What in the Black art school?”. And that tickled me. It tickled me because in my life that was the space I felt the most unseen. Where representation is not only willed by those inhabiting the space, it is disregarded by the work that they make. The characters seen in “By Water” of curly fro like beards and fluffy naturals on well groomed women are not common. Nor do they ever allow for the Black image to be whirled into the figurative where nature is as natural as the city and black memory is championed by Black creation of new or different worlds. I like that space of little clarity and big exploration.

Port of a Prince [Director: JR Aristide]: To never Unsee. This short is the moment when you finally can stomach that you too are desensitized. Desensitized by violence, corruption, and the ills of capitalism. You can't unsee the first death, and somehow every death of innocence, youth, friendship, family. . .it all just becomes a thing you live with. This is the untold truth of the African Diaspora, we have suffered so now we still suffer, at the hands of many and even our own. Don’t you ever put a gun in the hands of a child, for that is the moment they will unsee what joy life can bring.

T [Director: Keisha Rae Witherspoon]: To be seen Vividly: It is the cadence of art. It is culture and freedom. It is neon lights and innsense. It is memorial tee’s and talking spirits. It is to live beyond the time you are alive. Now without context you probably have no idea what this movie is about, but everything in me said this was for homegoings and healing. This is for my people and after looking at the shorts description, everything in me was right.

We Were Meant To [Director: Tari Wariebi]: To be seen in Flight. Why are we great like that? The metaphorical thought of rite of passage for Black men as the first time he takes flight sent me! It was clever in its social commentary, “The No Fly Zone”, is everywhere you are Black man. To have your wings clipped is a way to keep you down, without, undervalued. And the production was clean! It was thoughtful and nuanced beyond need [the Vitruvian man with wings] but because it was I bought into it like it was a thread of reality that was beyond plausible. It had me grappling with the surveillance of Black bodies [is this body not my own?]. It had me checking for my own super pours [& as a Black woman I know I have many]. This was by far one of the best films I have seen in my life because I know what it feels like to fly without wings.

Lexi for /CW

---

DEAR THIRTEEN [Director: Alexis Neophytides]

The world has changed a hell of alot since I was thirteen. That was circa *cough cough* LOL, social media was in its infancy, my mother was still trying to hide our working class poverty from me, and there was no wifi [first world problems]. So to see life through the eyes of today’s thirteen year old is an unsavory pill to swallow, yet it comes with a glimmer of hope that this generation is not lost, but very much misunderstood.

Being Thirteen is weird!

You're in this inbetween space where you're not a little kid anymore but you still don't have the full blown privileges of a teenager. It’s like being in limbo and that purgatory at minimum lasts a full calendar year [Yikes!]. But the issues of the world are noticeable at that age. The fears of the future strike you and thus it is a period of grounding oneselves, as depicted by the film, that gets lost in translation. Who narrates for this age? Only someone in the thick of it can. So the lack of adult commentary [besides editing] was vital to noting, thirteen year olds have something profound to say!

We brought our fifteen year old “intern” to see the film and she too had to reflect on who she is and why she is in this space in time. Too see that reckoning kindled by a global perspective of young reality, she murmured, “That was good to see”, which is more than enough in our book.

LEXI & /CW YOUTH INTERN JAZALE AFTER SCREENING OF DEAR THIRTEEN

---

“Dear Thirteen” is something that everyone, but especially everyone who has a child should watch. Often, adults tend to feel like teenagers don’t have problems.There is this belief that since a child is free from the burden of finances and large responsibilities like mortgages and car notes, that they live a worry and stress free life. But on the contrary, “Dear Thirteen” narrates how society impacts the lives of children in the same ways they do for adults. Each of those 9 children, whether they were a gun-toting American boy or an Australian trans girl starting her first day of puberty blockers, will all experience things that will transcend race, gender, socio-economic class, or geographical location. I appreciate the lengths Alexis Neophytides went to to establish diversity. I believe it really helps the claim that although we all come from different places, there are life experiences we all share. Australia, America, India, Europe, no matter where you are, adolescent years come with similar trials and tribulations. This film wasn’t a tearjerker, it wasn’t a comedy or a horror, it was the reality of adolescence and a voice for the unheard 13 year olds around the world.

Lexi & Peazy for /CW

---

LITTLE RICHARD: I AM EVERYTHING [Director: Lisa Cortés]

“Tooty Fruity” was the first song that I ever heard by Little Richard before I knew who he was. It was considered “grown folks music”, the stuff you can’t listen to because it has too many foul words or because they’re talking about some that isn't appropriate for your age. But that only increased my fascination which ignited the interest to find out who Little Richard was.

Lisa Cortes’ documentary puts to bed everything you THINK you know about the true King of Rock and Roll. Richard was labeled as “the one of a kind icon that shaped the world of music” and throughout the story that claim has been supported a thousand times over. But she also focuses on the imbalance Little Richard faced, which truly intrigued me because I think this a battle we’ve all faced: the battle between secular and sacred. On one hand, Little Richard is a worldly icon, doused in glitter and gold from his wardrobe to his makeup, he is the king of a people yearning for soulful music. On the other hand, in his heart he knows he should not conform to the desires of this world because he’s called to be a servant of God and create a new foundation not built on sex and fame but the love and obedience to God. I think it’s these details that fans don’t know that allow them to create the idea that celebrities aren’t human. Some of the most notable names recalled the best and worst times with Richard: Billy Porter, Tom Jones, Paul McCartney, John Waters, Pat Boone, amongst others.

Richard Wayne Penniman is not unlike many other queer or trans people who’ve been outed by the ones that they love and forced to create a new family through a talent like music or art. He is one of the blueprints to androgyny and queerness, one that has even now, in 2023 remained relevant because so many people can now be comfortable in their identity because of artists like Little Richard. Lisa Cortes accurately depicted each phase of Richard’s life. In the church where it all started, to the stage where he grew into an icon, back to the church where he renewed his faith and restored his relationship with God, and then the end of his story.

I appreciate Cortes’ understanding of representation in music, not only do I believe this greatly directed documentary re-established that Richard was the true originator of rock but it gave space for his intersectionality. Richard Wayne Penniman was a queer, black, Christian, rock and roll artist and creator. He walked so our generation could run, and “Little Richard: I Am Everything” depicts that in the most notorious way.

Peazy for /CW

---

RISE AND REBUILD: A TALE OF THREE CITIES [Directors: Asako Gladsjo & Sam Pollard]

We chose, “Rise and Rebuild: A Tale of Three Cities” as our community partnership film because when the world see’s Black America it often sees what we don’t have and not what we have had that has generationally been taken from us. Where the film captures Wilmington's Brooklyn, Atlanta's Sweet Auburn, and Chicago's Bronzeville, those localities might as well be Tulsa’s Black Wall Street, Detroit's Black Bottom [Lafayette], and Milwaukee’s original Bronzeville. But with Tulsa being a trendy storyline Directors Asako Gladsjo and Sam Pollard thought it best to highlight these other narratives that hold just as much weight. The pivot to black communities that once prospered, were harmed, and now are looking to reinvigorate their communities as they rebuild are stories that should be cautionary [as gentrification is at an all time high] and inspiring as now more than ever before the Black dollar, the Black education, and the Black voice has leverage.

The quote, “It's not about politics. It’s about people”, that Mayor khalid kamau of South Fulton said during the film, was one of those notes I don't think enough people comprehend. At the end of the day the value of our quality of life is not determined by the parlor tricks of politics but the people who enforce politics as a tool in which one secures the value of that quality of life.

I saw my city in that film. I saw our hardships like a mirror. I know what is at risk if we don’t carve out the infrastructure and let “them” take the wheel. We don't want a repeat. We want ground breaking change. This film shows us exactly what that can look like.

Lexi for /CW

---

THE ANGRY BLACK GIRL AND HER MONSTER [Director: Bomani J. Story]

Viewing “The Angry Black Girl and Her Monster”, a top-tier thriller/suspense film that in my opinion personified the pain of a Black child’s trauma surrounding death, was a pleasure. Although inspired by Mary Shelley’s “Frankenstein”, this film provokes deep thought about the trauma of experiencing death at a young age and how death is disproportionately in closer proximity to Black children more than it provokes goosebumps. Vicaria, the main character, is almost stalked with gun violence as it has plagued her family, killing her mother and her big brother. Meanwhile, on the opposite end her father is still alive but fighting the battle of addiction that will ultimately lead to an untimely demise. Life hasn't always been like this for Vicaria, we see this through Bomani J. Story’s allusion to better times during the intro of the film. Evidence that Vicaria has a loving relationship with her father and a pretty normal life outside of her mad science lab is pretty clear; the only thing that is truly wrong with this seemingly normal teenager is her perception of death.

Because of the randomness and aggressiveness of her mother and brother’s death, Vicaria is convinced that death is a disease, one that can be cured through science. Through the doors of her abandoned science lab, Vicaria takes the body of her slain brother and attempts to revive him to prove that death can be cured. She connects every source of power to his lifeless body, hits a switch, and after a citywide power outage, the monster awakens. But things start to get out of hand quickly, “Frankenstein” has no concept of life, he only knows death and to destroy.

As the plot thickens, Vicaria’s invention has taken his place as a true monster, [& here is the part where I am tempted to give the full story away]. In the end, she has no brother, no mother, father, family or even Kango and his henchmen, which in my opinion validated her hypothesis that death is in fact a disease. Once it claims someone close to you, the cycle continues until there is no one left to kill. I wouldn’t categorize this as horror, this film falls more on the suspense spectrum but the suspense kept us at the edge of our seats at every turn. Bomani took a classic horror story and turned it into an attempt to fix and cure what we have all deemed as incurable, and it worked. The ending scene shows a scientific genius grin into the camera as she brings her sister in law back to life using the same tactics she used before only this time…they WORK! I loved this film and I truly believe Bomani J. Story has earned his flowers.

Peazy for /CW

---

BLACK LENS PRESENTS WRITING IN COLOR [Event]

Santana Coleman, Paulina Lule, Derek Jay Garlington DURING WRITING IN COLOR PANEL

I love to write, but I’m not sure if writing a movie is the best place for my skills. However, after attending, Writing In Color, I might just change my mind. Because the word from the judges is i [& my random collaborative team] are pretty good at it. Well, at least that little trophy sitting on my desk says so.

Being at Radio Milwaukee [my media home away from home] for an event that showcases film through the writer's lens was fascinating. Did you know that there are local & Black filmmakers accessible to you in Milwaukee? I Stan [as the kids say Lol]. The panel to bless us with insight about the film industry at a micro and macro level included Milwaukee’s very own Emmy Award winner, Santana Coleman, the amazing Paulina Lule, and Pitch It To Me, game designer Derek Jay Garlington. They told us their perspectives of the tumultuous realm we call Hollywood, the glory of having Milwaukee [a non permit film city], and the nuance of being Black in the world of film. When creatives get to speak no holds bar, I live. You can always learn something worth holding on to.

But it was the game for me! Pitch It To Me, is a fun way to get those gears turning in your head. The game is noted to be “your chance to pitch the next hit film or tv show! Pitch It To Me is an entertaining card game that builds collaboration and creativity through the journey of storytelling”. And it did just that. My team won the pitch competition by putting together a new era story of Isis and Osiris set in dystopia Milwaukee. We named it, Gods of The Eastside. We set Tyana Taylor as Isis and Damson Idris as Osiris and it was a rap!

“If you're scared just say that!”, was my snark at the competition [but I don’t talk sh*t unless I can back it up].

Like I said, the trophy is sitting on my desk.

Lexi for /CW

---

To be seen in film is to be seen in mediated reality. We love it. Please keep it going!

Love & All Things Urban,

/CW Fam

"Your Favorite Press" is Back at Milwaukee Film Fest 2023 | Join us!

We’re Backkkkkkkkk!

We are so excited to kick off our Milwaukee Film Fest 2023 coverage, where “Your Favorite Press” [Us, its us. CopyWrite Magazine LOL] will be bringing our “special interest” [you know #AllThingsUrban, #SupportTheLocal, #RootingForEverybodyBlack, #ArtIsLife] perspective to the mix. This year we are inviting you to share the experience with us, as we share our lineup of movies we will definitely be checking out, including our Community Partner feature, Rise and Rebuild: A Tale of Three Cities. So grab a friend, and get your snacks. It's time to get “mad ethnic right now” in the theater. 

---

OUR COMMUNITY PARTNER FILMS

RISE AND REBUILD: A TALE OF THREE CITIES

Rise and Rebuild: A Tale of Three Cities portrays individuals in Atlanta, Chicago, and Wilmington, North Carolina, who confront the historical destruction of Black wealth in their communities and devise strategies for building a more equitable future. 

Saturday, Apr 29 | 12:15 PM | Avalon Theater 

Wednesday, May 3 | 3:45 PM | Times Cinema

Keep up with us on Instagram @copywritemag for your chance to win tickets to see this film!

FILMS WE PLAN TO SEE

Little Richard: I Am Everything

Like a quasar burning past the gaslight, director Lisa Cortes’ eye-opening documentary explores the whitewashed canon of American pop music. Little Richard: I Am Everything clarifies the Black, queer origins of rock ’n’ roll and establishes the genre’s big bang: Richard Wayne Penniman. 

Saturday, Apr 29 | 6:15 PM | Oriental Theater: Abele Cinema 

Thursday, May 4 | 1:30 PM | Avalon Theater

BLACK LENS SHORTS

BLACK LENS SHORTS: BLACK REMEMBRANCE is a collection of short films that explores, interrogates, and engages how cinema can be used as an active archival tool to process grief and loss. Join us as we discover what honor could look like on the silver screen. 

Tuesday, Apr 25 | 7:00 PM | Times Cinema

BAD PRESS

Angel Ellis, a reporter for Mvskoke Media, just wants to give her readers transparent and truthful access to news relevant to the Muscogee (Creek) Nation. But when Angel and her colleagues challenge the integrity of tribal officials, they set off a whirlwind that ends in the dissolution of their independent media. BAD PRESS is a nuanced, empowering tale of a modern Native community fighting for transparency and access to information to hold their government accountable.

Saturday, Apr 29 | 5:00 PM | Avalon Theater

Wednesday, May 3 | 1:30 PM | Avalon Theater

DEAR THIRTEEN

DEAR THIRTEEN lends insight into the perspectives of nine thirteen-year-olds across the globe. Told through gorgeous cinematography—with no adult commentary but the filmmaker’s— these diverse and far-reaching stories will inspire younger teens going through the similar task of coming of age amidst urgent challenges to their generation. Older teens and adults will have a poignant dose of nostalgia through the film’s meditation on the endless and universal quest of self-discovery.

Saturday, Apr 22 | 12:45 PM | Oriental Theater: Lubar Cinema

Tuesday, May 2 | 6:30 PM | Times Cinema

JASMINE IS A STAR

JASMINE IS A STAR follows a determined sixteen-year-old with albinism (lack of pigment in the hair, skin, and eyes) who makes it her mission to become a professional model in her hometown of Minneapolis while attempting to go unnoticed in every other aspect of her teenage life. Director Jo Rochelle (writer for Freeform’s GOOD TROUBLE) creates a sensitive depiction of a different category of teenage angst.

Saturday, Apr 22 | 9:30 PM | Avalon Theater

Wednesday, Apr 26 | 6:45 PM | Oriental Theater: Lubar Cinema

THE ANGRY BLACK GIRL AND HER MONSTER

THE ANGRY BLACK GIRL AND HER MONSTER follows anti-hero Vicaria, a brilliant teenager who believes death is a disease that can be cured. After the brutal murder of her brother, she embarks on a dangerous journey to bring him back to life. Inspired by Mary Shelley’s FRANKENSTEIN, the film’s writer and director, Bomani J. Story, crafts a thrilling tale about a family that will survive and is reborn again despite the terrors of systemic pressure.

Friday, Apr 21 | 10:00 PM | Oriental Theater: Lubar Cinema

Sunday, Apr 23 | 8:00 PM | Times Cinema

EVENTS WE WILL BE AT

Black Lens Presents Writing in Color

As creatives, our minds are always buzzing with story ideas. But more often than not, they tend to stay in our imagination. It may be the web series you’ve been plotting. Or the next great action flick you’ve cooked up! Or even that documentary you’d like to take to the next level? Join BLACK LENS at our storytelling workshop and game night, Writing In Color, and discover what it means to graduate your idea from your mind to the silver screen. 

Saturday, April 29 | 6:00 PM | Radio Milwaukee

---

Love & All Things Urban,

/CW FAM

Pride Month feature w/ Milwaukee Film | Moonlight

We had the chance to catch ‘Milwaukee Film’s Pride Month’ featured showing of “Moonlight” this weekend. While it’s hard for any corner of the world to be unfamiliar with the Academy Award winning film, Moonlight is the coming of age story of a young boy who struggles with balancing masculinity and sexuality. While juggling many different obstacles along the way, including being brutally bullied, raising himself and witnessing his mom abuse drugs, he eventually set his footing in the only thing he was familiar with–the streets. 

I feel like this is a universal story–even if [you] don’t think so. As a woman, I can’t speak to that experience of growing up as a male and balancing masculinity along with curiosity but these children and situations do exist. Their experience deserves validation whether it’s talked about or not. It happens every single day. 

These kinds of films are extremely important for society because it is something that is deemed taboo by the majority. People tend to think that sexuality is only expressed through personality and performance. If you were to watch this film in particular, you’d see it through the lens of what it is—normality. While it may not be your ‘normal’, you’re not the only person who exists. I think it’s also worthy to note that we don’t see a flamboyant character in this film at any point. That’s a heavy point in itself. Prejudice can’t protect you from the truth—sexuality is a fluid spectrum. Who are you to deem it any different?

While CopyWrite is a proud community partner of Milwaukee Film, what makes our job even easier is digesting top tier content. We hope to see you next year as it is not something you’d ever want to miss. 

/Imani for CW

Happy Pride Month! | Celebrate with us by enjoying a few of these community partner film screenings at Milwaukee Film

Take PRIDE in who YOU are!

/CW is celebrating Pride Month as a community partner for Milwaukee Film’s Pride Month programming. Check out these films that are sure to inspire!

Also be on the lookout for our instagram raffle where we will be giving away 2 tickets to each screening!

@copywritemag

Moonlight

Sat, Jun 18 2022 7:00pm

But I’m A Cheerleader

Sun, Jun 05 2022 7:00pm