Color only exists in the presence of light, so all things are essentially black. But really, what is black? A short, elegant, and experimental exploration of the value and meaning of BLACK is explored by filmmaker Andy Hodgson in El Color Negro. This short film is an empowering, spoken word exploration of the value and meaning of blackness. Warmly received at this year’s Vancouver International Women in Film Festival, I was honored to discuss the project with Andy.
Thank you for agreeing to catch up with Occhi Magazine. How did you get into filmmaking?
Thank you for having me on this platform. When I moved to Canada in 2001, I decided to attended film school at Capilano College, now a university. I pursued a two years program at Cap and instantly fell in love with the process of making films, as well as Cinematography.
Who has been most influential on your career and approach directing, and why?
I never thought I would be a director. I have been in the film industry for seventeen years producing and shooting films; directing was not something I invasion doing. My influence for directing was the George Floyd incident and the Black Lives Matter movement.
Please tell us more about the El Color Negro and how you got involved in the project?
Synopsis for El Color Negro; There is so much to the color black than a shade on a spectrum. Black is not a color, no. It’s a shade in the same category as white and gray. Using concepts of color theory, historical references, and philosophy, we will explore this Idea through elegant, powerful images of black and white objects, poised images of black women, men, and children- all underscored to a child’s narration. I created the Idea shortly after seen the gruesome murder of George Floyd on the news.
The film screened as a part of the Vancouver International Women in Film Festival. It’s a short but powerful film. What is the primary objective or message you want the audience to take away with them?
I wanted to bring awareness about racism and the BLK situation to individuals without posting a news article on my social media. Giving the audience something they could feel, understand and reflect on through the film medium seem to fit what I was going after.
This film is the first of 3 films in a series. What can we expect to see next?
I don’t want to give away too much about the following two films. The next film is an original poem that we are writing to translate onto the screen. It’s titled El Mulatto.
The production features Miss Universe Canada Nova Stevens, Adrian Holmes (Skyscraper, 19-2). Rukiya Bernard (Van Helsing, Christmas in Evergreen) and narration by Caitlin Stryker. Please tell us more about working with the cast and crew.
Working alongside the cast and the crew was an incredible experience. I worked with the crew members on previous projects, so I felt that they understood my vision and supported what we captured.
When I came to casting, I got help from Rukiya Bernard, one of the film’s actresses. She connected us with most of the actors that came on board. Without her, it would have been tougher to get some of the actors you see in the film.
Shot on 16mm film, the stark visuals, and poetic spoken word explore the meaning of black and showcase an empowered and dignified Black America while also acknowledging the historic trauma—reminding us of the weight that racism still holds today. Do you think there’s a greater importance placed, particularly on filmmakers, to address current political and social events?
As a filmmaker, we have the tool, which is the camera, to get vital messages out to the public, if done correctly and provide factual information. We are bombarded with so much propaganda on TV and other visual platforms that it overpowers some of the empowering visuals and messages we creatives try to transmit to the world. Creatives hold power, with the camera, to create an accurate narrative that speaks the truth about political and social events.
To what extent did the pandemic impact the production schedule?
The pandemic posed some issues with production. We had a small crew, and you could feel the interactions were different when we have to social distance, sanitize all the time, and wear the mask. We have to coordinate actors to come to set staggered. They were never together in the same room, which I would have liked to have all of them there so they could feed off each other’s energy. We were one of the first indie projects to shoot during the pandemic, and shooting felt slightly different.
Where can our readers find out more about you?
You can follow me on IG at @andhod23 and follow the film at @elcolornegro.film
Photography by Nikki D’Amato
Second image Andy Hodgson and Phil Planta
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