Episode 805: They’ve Gotta Have Us / Always in Season

Joining Bart and Chris as guest host for a robust discussion of the three-part 2018 BBC documentary series They've Gotta Have Us, just recently released on Netflix, is film critic Roxana Hadadi. We discuss that program’s approach to the history of African American and Black British actors and directors in Hollywood. Then, Bart interviews director Jacqueline Olive about her film Always in Season, which explores America’s tortured legacy of lynching (we previously reviewed the documentary on episode 705). It’s a brutal subject, but one that cannot be ignored. Group Review Documentary: THEY’VE GOTTA HAVE US (Simon Frederick, 2018) Now playing on Netflix Film Featured in Interview Portion: ALWAYS IN SEASON (Jacqueline Olive, 2019) In theaters and film festivals now Other Films/Shows Mentioned/Referenced: The Alpinist (Peter Mortimer/Nick Rosen, 2020) Amistad (Steven Spielberg, 1997) Chavela (Catherine Gund/Daresha Kyi, 2017) Color Adjustment (Marlon Riggs, 1992) Daughters of the Dust (Julie Dash, 1991) The Dawn Wall (Josh Lowell/Peter Mortimer, 2017) The Edge of Democracy (Petra Costa, 2019) Ethnic Notions (Marlon Riggs, 1986) Flannery (Elizabeth Coffman/Mark Bosco, 2019) Free Solo (Jimmy Chin/Elizabeth Chai Vasarhelyi, 2018) Get Out (Jordan Peele, 2017) Gone Too Far (Destiny Ekaragha, 2013) Hollywood Shuffle (Robert Townsend, 1987) The Kingmaker (Lauren Greenfield, 2019) Moonlight (Barry Jenkins, 2016) Once Upon a Time in Venezuela (Anabel Rodríguez Ríos, 2020) RBG (Julie Cohen/Betsy West, 2018) Selma (Ava DuVernay, 2014) She’s Gotta Have It (Spike Lee, 1986) She’s Gotta Have It (Spike Lee, 2017-2019 Netflix series) Wormwood (Errol Morris, 2017 Netflix series) Link to review by Christopher Llewellyn Reed: Film Festival Today review of Always in Season Timestamps: 00:37 – Intro 04:01 – Group Discussion of THEY’VE GOTTA HAVE US 22:28 – Bart interviews Jacqueline Olive of ALWAYS IN SEASON ­­43:02 – Doc Talk Website/Email: www.fogoftruth.com [email protected] Credits: Artwork by Hilary Campbell Intro music by Jeremiah Moore Transitional music by BELLS (thanks to Christopher Ernst) Editing and shownotes by Christopher Llewellyn Reed