Delroy Lindo thankful for ‘love and support’ after N-word incident at Baftas

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Lindo speaks out after man with Tourette syndrome shouted slur while actor was on stage with Michael B Jordan British-American actor Delroy Lindo expressed gratitude for “the support and love” he and Michael B Jordan have received after a man with Tourette syndrome (TS) shouted the N-word as the two men presented a Bafta award. “We appreciate all the support and love that we have been shown,” Lindo – who, like Jordan, is Black – said on stage at the annual NAACP Image awards in Los Angeles. He called it “a classic case of something that could be very negative becoming very positive”. Continue reading... from Film | The Guardian https://ift.tt/Ac1LaQo via IFTTT
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Gasoline Rainbow review – a free-ranging coming-of-age ode to the curiosity of youth

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Billed as a gen Z road trip film, the Ross brothers’ first fiction feature offers more than you’d expect from the genre, with a focus on human interaction over plot

In the opening seconds of the Ross brothers’ new film, a teenager professes his hope to discover a place “weirdos” like him can call home. The opening raises doubts about the novelty of what might follow: the trope of the high school outsider has been endlessly revisited. Gasoline Rainbow – billed as a gen Z road trip movie – starts off by replaying familiar images. As new high school graduates Makai, Micah, Nathaly, Nichole and Tony hit the road across Oregon for one final adventure together, we see the usual trappings of the genre: sing-alongs, parties by the campfire, and leaning out of car windows to enjoy the breeze and sweet call of freedom.

We move into welcome new territory when a mishap leaves their van out of action, and the group are left in the hot desert trying to scrounge a path forward, meeting strangers along the way. Directors Bill Ross IV and Turner Ross are known for blending nonfiction and fiction, and their loose, free-ranging cinéma vérité style. While Gasoline Rainbow is their first fiction feature, there are elements that nod to their DIY sensibilities: the teenagers are first-time actors, share the same names as their characters, and scenes were partly improvised. The result is a movie in the tradition of “vibes” film-making, less interested in a propulsive plot than exploring the revealing and delightful moments that arise from spontaneous human interactions. The group tells onlookers that they have no plan for their journey. It is a fitting statement for the film itself, which ambles along gently, happy to be pulled in new directions, seeing what treasures emerge by chance.

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