Channing Godfrey Peoples discusses the craft of capturing a community's grit and dignity in her film, Miss Juneteenth.
, is a multifaceted piece of work: It’s a portrait of black American life, a testament to black American pride and determination, a tribute to women like its protagonist, who work with such casual resolution that it looks as natural to them as breathing, and a homecoming for Peoples herself, who was born and raised in Fort Worth, Texas.
To be honest, I don’t get a lot of craft questions. I tell people all the time, especially as a black woman director, I want to talk about the craft. I want to talk about my inspiration for sure, because it’s the heart of why I made the film, but I also want to be asked questions about the craft. I’ve had whole interviews where there’s not one question about craft.
To add to what you were asking about the texture: I shot it in the neighborhood in which I grew up. It’s called the Southside of Fort Worth, Texas, and once it was just a bustling black community where they had black businesses and black commerce. Today, there are literally businesses that have held onto their businesses through generations. You saw a couple of those in the film: in the bar, in the funeral home. They’re family friends. That’s the Baker Funeral home.
I approached everything cinematically from that aspect I wanted everything to feel, and to look like, it’s just past expiration: the cinematography, the costumes, the production design, everything. I was also looking to find a way to show the grit in the community. The people there have this dignity, and they also have this grit about them. That’s what I wanted the film to feel like, as well.You mentioned that you worked a couple of nights at the bar.
Bostonian culture journalist Andy Crump covers the movies, beer, music, and being a dad for way too many outlets, perhaps even yours. He has contributed to
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