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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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There’s refined British comedy, and then there’s “Fackham Hall,” a movie that waltzes in wearing period-accurate garb on the outside and immediately trips over the furniture. It’s the kind of delightfully silly romp where aristocrats brood, servants scramble, romance simmers, relatives wed, and the background is working twice as hard as the actors to steal every scene, like “Downton Abbey” politely offering you tea while “Airplane” swaps the sugar for gunpowder. Set between the wars, the film follows starry-eyed servant Eric and rebellious aristocrat Rose as their forbidden attraction detonates inside a household already teetering on the edge of absurdity. The ensemble includes Thomasin McKenzie, Damian Lewis, Katherine Waterston, Tom Felton, and a sprawling cast of blissfully serious performers.
Joining The Discourse in today’s episode are “Fackham Hall” director Jim O’Hanlon and star Thomasin McKenzie, who break down how the team crafted a period comedy where the jokes never stop multiplying and the sincerity has to be played with absolute conviction.
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