From director Andrew Rossi (Page One: Inside the New York Times, The First Monday in May) comes an electrifying portrait of writer and performer Okwui Okpokwasili and her acclaimed one-woman show, Bronx Gothic. Rooted in memories of her childhood, Okwui - who's worked with conceptual artists like Ralph Lemon and Julie Taymor - fuses dance, song, drama and comedy to create a mesmerizing space in which audiences can engage with a story about two 12-year-old black girls coming o... (Full plot summary below)
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From director Andrew Rossi (Page One: Inside the New York Times, The First Monday in May) comes an electrifying portrait of writer and performer Okwui Okpokwasili and her acclaimed one-woman show, Bronx Gothic. Rooted in memories of her childhood, Okwui - who's worked with conceptual artists like Ralph Lemon and Julie Taymor - fuses dance, song, drama and comedy to create a mesmerizing space in which audiences can engage with a story about two 12-year-old black girls coming of age in the 1980s. With intimate vérité access to Okwui and her audiences off the stage, Bronx Gothic allows for unparalleled insight into her creative process as well as the complex social issues embodied in it.
Leave your thoughts about Bronx Gothic.
| RogerEbert.comMatt FagerholmNo filmed footage could replicate the experience of watching “Bronx Gothic” live, but documentarian Andrew Rossi does an admirable job of channeling its power in his movie of the same name. |
| The Film StageRyan SwenBronx Gothic is not a filmed performance or a pat dissection of what, exactly, the piece comprises, but a hybrid of the best impulses of those two approaches. |
| Chicago ReaderLeah Pickett[Okwui] Okpokwasili uses song, dance, and soliloquy to explore, with a political edge, the intricacies of black girlhood, and onstage she's a magnetic force, physically commanding and emotionally raw. |
| Slant MagazineChuck BowenBy design, the film is intensely preachy. And this preachiness serves a therapeutic purpose, offering jolting possibilities for empathy. |
| The New York TimesGlenn KennyGiven the aesthetically confrontational nature of the piece, one can understand why Mr. Rossi did not attempt an undiluted cinematic translation of the complete Bronx Gothic. But something about his approach (which I assume was approved by Ms. Okpokwasili, as she is one of the movie’s executive producers) feels, finally, like an evasion. |
