Film Review: ‘Finding Kendrick Johnson’ Reveals FBI’s Complicity in Coverup of Black Child’s Murder

Ashley O’Shay’s documentary “Unapologetic” is an examination of the lives of Black women and queer activists in Chicago as they navigate the response in the streets to the police killings of Rekia Boyd in 2012 and Laquan McDonald in 2014. While the documentary provides a chilling revelation of just how long the process for “justice” for these two police killings took, it also, and perhaps more importantly, focuses on the struggles on multiple levels that the people who took to the streets and organized behind the scenes to demand that justice endured during that time. Two of those people are Janea Bonsu, an organizer with Black Youth Project 100 (BYP100), and Ambrell “Bella” Gambrell, a scholar and raptivist (a rapper who is involved in political or social activism).

After an introductory soliloquy in which viewers are let in on the meaning behind the film’s title, footage appears from a direct action in what looks to be a ritzy eatery in one of Chicago’s whiter areas. Agitators—and I use that term quite intentionally and with the utmost respect—interrupt the relaxed regular dining of the mostly white patrons with a coordinated call and response, indicting the dismissal of the suffering of poor Black families struggling to put food on their tables, who were probably not far from where the visibly uncomfortable white folks were sitting. They all sat there and chit-chatted over meals that were probably overpriced.

Though some of the patrons tried to appear patient and listen attentively, many more tried even harder to ignore the agitators and get on with their meal despite them, which is the perfect representation of the way much of white U.S. society responds to Black suffering and death in general. But the comments of the testy restaurant employee, dressed in what appears to be an elf costume—which makes his testiness all the more comical and infuriating—really bring home the point that the documentary endeavors to make, but also the point that the agitators were making.

The documentary proceeds to follow Janae as she completes her doctoral dissertation while organizing with BYP100, and Ambrelle as she uses her talent as a rapper and her exposure to the criminal justice system through family incarceration as the foundation of her activism. One should not mistake the difference in these two women being one of class—both are residents of the Southside of Chicago, and both have attended and graduated college. The difference appears to be the paths each takes with that foundation that the documentary shows contributes to their organizing efforts in different ways. One pursuing a Ph.D. based on pursuing alternatives to the disastrous impact on Black women that social services and interactions with the police have. The other eschews pursuit of further education in the system that she excoriates in one of her poems recited at an early protest.

And this is one contradiction that the documentary raises, or should raise, among its audience regarding academia and organizing—how useful is academia in organizing? Because while Janae is clearly passionate about working to find solutions to the very real problems of the negative impacts of the social services system on Black women, can solutions be found inside the very systems that perpetuate those problems? There are already plenty of educated folks in the social work field and even in policing, many of them Black. When we see in the documentary how Janae’s doctoral chair counsels her that she doesn’t have to talk about everything in her dissertation, isn’t this a reflection of how the established institutions respond to Black people when we raise the alarms about that system and its impact on us? A question to ponder, but not with the aim of besmirching Janae’s pursuit of her Ph.D., because the contradiction isn’t one regarding personal choice, but it is about systemic realities and being realistic about them.

Conversely, rather than go the academic route, Ambrelle took to the streets in the pursuit of organizing her own space, especially on behalf of Black women—and particularly queer women—who have experienced victimization by the carceral state. Clearly a skilled wordsmith and masterful with rap technique, she also draws upon her own experiences with multiple generations of family exposure to incarceration, using the experience of her mother’s incarceration and then her brother—still incarcerated at the time of the making of the documentary—to help other Black women deal with the trauma of that systemic victimization.

Both women actually have experience with the carceral system impacting their families, and both connect the repression of the state as part of the “War on Drugs” to the ongoing war on Black and poor people, and how this repression destroyed the stability of even economically struggling Black communities like in the Southside of Chicago.

That both women highlight the need to elevate the voices of young, Black and queer women in the new efforts at organizing is a central theme in the documentary. The role women play in organizing—that has been too often overlooked throughout the historical reflection of the long fight for liberation for Black people—is an important and well-highlighted discussion that both women and others throughout the documentary raise. In organizing meetings and in the streets, the documentary points out several instances throughout when Black men literally take the mic from Black women while they were speaking or talk over them, thereby dominating the discussion. It seems the film focuses on the organizing that occurred after Rekia Boyd’s killing precisely because few outside of Chicago probably understood how much focus the people in the streets DID pay to her killing, despite people outside of Chicago saying that the movement writ large doesn’t pay much attention to Black women killed by police.

However, there are contradictions even in these discussions in the film, as Ambrelle particularly describes Black men as being only interested in their position to power and as oppressors of Black women. But even with this troubling discourse about Black men, other voices in the documentary point out other possibilities, chief among them that Black men who exhibit misogynistic behavior toward Black women are largely unconscious of how some of their behavior negatively impacts Black women because they, too, are oppressed and do not realize the depth of their oppression. Just as in the questions surrounding the utility of academia in the movement, raising this contradiction is not a dig on Ambrelle, but an occasion to examine how we all talk about Black men in the spaces we all occupy in the movement.

Those contradictions that we all must wrestle with aside, the documentary delves into the hectic, exhausting, emotionally taxing life of Black organizers, activists and agitators—whatever you want to call them. The work that is done to confront city councils that refuse to listen to the demands of the people most impacted by police violence that is literally funded by their tax dollars, the difficulty balancing organizing and personal lives, the importance of strong family ties and support, and the difficulties even pursuing romantic interests are all issues among several others that remind the viewer that organizing is not a hobby. Nor is it a lifestyle. It is—for many of us—our life, our whole life. And it is such because our lives depend on it. But as the two women show in the various ways that they stay connected and grounded when they are not organizing or agitating, the necessity of having those connections and making that time for them outside of organizing and agitating is critical to their survival, too.

The documentary also presents a detailed timeline of the response of the Chicago Police Oversight Board and the mayor’s office to the police killings of Boyd and McDonald. In that timeline, we see the way now-Mayor Lori Lightfoot conducted herself in the presence of these agitators as they demanded the cop who killed Rekia be fired, but also the cold detachment as Rekia’s brother testified before the Chicago Police Board that Lightfoot presided over as president.

Watching it, you wonder how in the hell did she get away with presenting herself as a progressive after the despicable way in which she responded to these incidents and the people in that community demanding action be taken against the cops who committed them. Lightfoot’s recorded comments from that time period, and those of Rahm Emanuel, are repulsive and one wonders how the hell Lightfoot was elected mayor after the revelations of her boss Rahm Emanuel’s attempts to cover up evidence of the McDonald killing and the corruption of the Chicago District Attorney’s Office that was connected to Emanuel’s shady dealings. The politics of identity divorced from class analysis and good ol’ Democratic lesser-evilism are at play here, but it is not pointed out in the documentary. That is unfortunate, because these issues are critical drivers behind continued political malaise and stagnation among the very community the agitators are agitating on behalf of.

“Unapologetic” is a much-needed exposé into the actual lives of actual activists. It reveals that the “people in the streets” are ordinary folks struggling with ordinary life, but they also have the extraordinary desire to challenge and change this system because, as Black women and Black queer people, they also struggle with the extraordinary burdens heaped upon them by this society. That seems to be the primary focus of the documentary, though it also looks at how those ordinary people are pushed to be unapologetic about their activism and agitation—and that is a good thing. However, it leaves out the deeper discussions we need to have about the gender relations between Black men and Black women, classism, and identity reductionism that exist within this important work, all of which we cannot afford to ignore if we ever want to be healthy enough—mentally, emotionally, and as a community—to endure this continued struggle.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”

A scene in Nia Dacosta’s film, “Candyman” (2021), might go unnoticed, but it signifies the theme of representation appearing throughout the film. Representation refers to oppressed people being seen in media and politics, but it does not mean they wield power in those sectors.

Actor Yahya Abdul-Mateen II plays the central character “Anthony McCoy,” whom we aren’t sure can be called a protagonist or an antagonist, even by the movie’s end. In the aforementioned scene, he stands at the intersection of a long-abandoned neighborhood, which is composed of former row-house apartments that used to surround the high-rise tower of Cabrini-Green, a public-housing project in Chicago. The street he is facing is empty of typical neighborhood life—adults going to and from work or errands, kids playing, teens hanging out. But remnants of their neighborhood, including the doorless, windowless apartment units that offer nothing but a foreboding darkness, stand as empty, haunting reminders of a people who used to live there but are long gone. The street is marked by a sign for “Mohawk St.”, and as he walks around the corner, another street sign reads “Locust St.” These are actual streets in the Cabrini-Green neighborhood in Chicago, lending credibility to the storyline by anchoring the tale in the actual remains of the infamous neighborhood, whose residents had been long displaced through gentrification.

But the street names seem to also juxtapose the disappearance of Indigenous tribes, like the Mohawk. They are relegated to outposts that are out of sight, out of mind for the rest of us. The impetus behind the mass displacement of both the Black and poor residents of Cabrini-Green and Indigenous people is the locust-like swarm of gentrification, which could be argued is a modern day form of settler-colonialism. It might be a stretch to make this kind of observation of this scene. It might not have been one that DaCosta might have been intending to make. But it is a connection I couldn’t help making, considering “Candyman” is less of a horror film than an indictment of white supremacy and the terror that it inflicts upon the communities it ravages.

I will try not to provide many spoilers in this review. I will say seeing the first “Candyman” (1992) is critical to understanding the expansion of the story and themes in the current iteration. But those themes that are outside of the conventional horror narrative are as important to the experience as continuing the urban legend of “Candyman.”

Abdul-Mateen is convincing in his portrayal of “Anthony,” a young Black aspiring artist struggling to make his mark on the art world. Ebulliant actor Teyonah Parris plays McCoy’s partner, “Brianna Cartwright,” also a young Black up-and-comer working as a curator at the gallery where her partner’s work is being shown. 

The characters live together in one of the trendy, expensive apartments in the gentrified Cabrini-Green neighborhood, long after the towers had been torn down. Brianna and Anthony appear to have a loving, committed relationship, a lovely expression of Black Love that we all enjoy seeing so much, and we need to see more of. That is until Anthony learns about the legend of Candyman from Brianna’s brother, “Troy,” played by actor Nathan Stewart-Jarrett. Anthony is fascinated with the legend and pursues inspiration for new art by visiting what is left of the old Cabrini-Green neighborhood. He meets one of the last remaining residents, seemingly neighborly “William Burke,” portrayed by veteran actor Colman Domingo. 

Here is where I’ll leave off describing the timeline of the movie, because how things happen almost take a backseat to what some of those things seem to represent. 

Anthony slowly transforms into… something, and his physical transformation coincides with what seems like the fraying of his mental state. Anthony attempts to protect his partner, Brianna, in a pivotal scene that exposes something far more sinister in real life than a horror movie boogeyman: The horrifying and lasting effects of trauma and the unaddressed mental illness among Black people, particularly how Black men are misunderstood or ignored when they suffer mental health crises and trauma.

The tendency for many of us to dissociate ourselves from mental illness and trauma is touched on in a seemingly disconnected flashback that Brianna has of a traumatic childhood experience with her father. No, it’s not sexual abuse, but it is traumatic. But because she never confronts what happens, when her partner, Anthony, begins to display behavior that suggests his mental health is fraying, Brianna responds with less and less understanding, and more and more hostility. Focusing more on moving up in her career than her partner’s obvious growing difficulties, she ultimately leaves Anthony alone to face whatever he is experiencing.

Brianna’s brother, Troy, is also pointedly critical of Anthony as the Black Man Living Off a Black Woman. But Troy himself is settling into a relationship with his new partner, “Clive” (played by Brian King), who Brianna accepts and notes is a welcome change from her brother’s usual unsavory choices. It is another interesting play on the trope of listless Black men being leeches on successful Black women that doesn’t sting any more or less because the one employing it in this case is a gay man. Rather it seems that this represents the pervasiveness of the deadbeat Black man stereotype—even other marginalized Black men believe it.

Much of the first third of the film revolves around Anthony’s transformation. That is where the trauma of centuries of racist violence against Black men emerges.

Much of Anthony’s transmogrification occurs in front of mirrors. That is obvious to the storyline and the myth of Candyman, but it doesn’t quite apply to Anthony because he isn’t sure if he is hallucinating or not. When he realizes that what he is seeing is real, the scene conveys less horror movie scare than a deep reflection into what happens to Black men’s souls living in a white supremacist system that loves their culture, their swag, their art and anything else from which society can profit. But this society doesn’t love them, and it will not hesitate to express its disregard for Black men in the most violent, inhumane ways possible.

That long history of racist violence against Black men is told in cleverly laid-out shadow puppetry, which simultaneously removes the physical gruesomeness of the acts portrayed while delivering their inhumane brutality. Each shadow-puppet story relates to a different iteration of Candyman, and the collective trauma of centuries of violent racist brutality against Black men turns the Candyman figure into something other than a villain. Terrifying in his visage and actions, certainly, but the question emerges as the connections are made between this history and the urban legend come to life: Is Candyman the monster, or is the monster what created Candyman?

As viewers hopefully make this connection, they are invited if they are thinking further to ask a larger question: Are Black men, who lash out at a society that finds every way imaginable to destroy them, the monsters society says they are, or is the monster really society?

Indictments of white supremacist society and privilege, and the impact of the trauma of community having been erased, are woven throughout the film, reflecting ways Black people are either dismissed or used before being discarded.

The contempt and condescending paternalism of society’s gatekeepers is represented by the gallery owner and the art critic—and even the Black major-gallery curator—as they have little regard or use for Anthony as he struggles to produce content that will elevate his profile. They do not hesitate to disregard him when he is no longer of use to them.

The ease with which an oblivious white society appropriates Black culture, traditions and even urban legends—believing no consequences exist for that appropriation because they have no connection to the community those things come from—is reflected in a scene that is on the surface typical horror-movie, high-school kid hijinks.

The crushing trauma of surviving the systematic eradication of one’s community, and the desire to get back or revive what was taken or destroyed, is an underlying aspect of the actions of neighborly-seeming sole survivor/resident of Cabrini-Green, William Burke. 

The way society is more accepting of a Black women’s efforts to climb the ladder, and how easily they dismiss Black men as they fall down it—even as they watch—can be extrapolated as we witness Anthony’s growing instability as it manifests itself when he and Brianna are trying to court a renowned gallery owner.

The way that our parents may have been doing the best they thought they could by moving their children out of the ‘hood and into “better” neighborhoods, encouraging them to forget where they came from in an effort to give them a better life, seeps through the cracks as Anthony confronts his mother about a past she has kept from him. The toll of keeping that secret trauma seems to have weighed heavily on his mother, as well, as family secrets are wont to do…  

The running theme of racist police violence in the film—from beginning to end—is reminiscent of… well… every story we know about racist police violence. Brianna is ultimately put in a horrific situation, and then cynically used against Anthony in a way that shouldn’t be unfamiliar to our real-life experience with racist police terrorism. Brianna realizes then who she is, who Anthony is, and that he is the only one who can save her.

I have noticed among online fan reviews wildly divergent reactions to this movie, almost strictly along racial lines. If the reviewer is a white person, they almost unanimously and unequivocally hate this movie. I see these people as those who do not want to face the traumas and horrors of the history and continuing legacy of racist violence against Black people, which I believe this film effectively expands upon from the original “Candyman.” Although, I find it odd some who have seen this film say they loved the original, but hate this one because it’s “too political,” because they clearly missed the political history of Candyman in the original. They’re mad Candyman only kills certain people, but aren’t bothered at all by the historical track record and legacy of the broken bodies and souls of Black men, women, and children that created Candyman. So they do not see the connection between real life reflected in the film’s themes. But selective memory is what this society is great at, so this response is actually not a surprise at all.

But for others who understand what DaCosta’s “Candyman” is trying to say and why, it may not be scary in the traditional slasher/spine-tingler sense, so it’s hard to say whether or not the movie is “good” as a traditional horror film. However, the real-life nightmares and horrors reflected in this film are what many Black viewers will be all too familiar with.  

As Brianna’s brother, Troy, says early in the movie, “Black people don’t need to be summoning shit.” 

We don’t have to summon supernatural boogeymen. The horrors we live are real.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”

This webinar took place December 2, 2021.

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Toward Freedom has 69 years of experience publishing independent reports and analyses that document the struggles for liberation of the majority of the world’s people. Now, with a new editor, Julie Varughese, at its helm, what does the future look like for Toward Freedom and for independent media? Join Toward Freedom’s board of directors to formally welcome Julie as the new editor. She will be reporting back on her time covering Nicaragua’s critical presidential election. New contributors Danny Shaw and Jacqueline Luqman also will speak on their work for Toward Freedom as it relates to the value of independent media. Danny will touch on the rising Pink Tide in Latin America while Jacqueline will discuss an increase in films that have documented the Black struggle in the United States.

Toward Freedom tiene 69 años de experiencia en la publicación de informes y análisis independientes que documentan las luchas por la liberación de la mayoría de la población mundial. Ahora, con una nueva editora, Julie Varughese, a la cabeza, ¿cómo se ve el futuro para Toward Freedom y para los medios independientes? Únase a la junta directiva de Toward Freedom para darle la bienvenida formal a Julie como nueva editora. Ella informará sobre su tiempo cubriendo las elecciones presidenciales críticas de Nicaragua para Toward Freedom. Los nuevos colaboradores Danny Shaw y Jacqueline Luqman también hablarán sobre su trabajo para Toward Freedom en lo que se refiere al valor de los medios independientes. Danny tocará sobre la creciente Marea Rosa en América Latina, mientras que Jacqueline hablará sobre un aumento en las películas que han documentado la lucha negra en los EEUU.