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Likewise, the use of archival footage, such as black and white stills of incarcerated Black kids, Black children celebrating holidays, and visions of Apollo 8, alter our interactions with the white-owned historical record with which the film is contending. The writerly work by Ross and screenwriter Joslyn Barnes, along with Fray, is nothing short of incredible. They take what feels like a nearly unfilmable book and reformulate the relaxed poeticism of Whitehead into a film whose cinematic prowess overwhelms the viewer with images that would merely be gorgeous if they weren’t so haunting.

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