Reporting from the Denver Film Festival.
With a nod to the writings of James Baldwin, Skinner Myers’ The Sleeping Negro consists of two conversations about race and revolution punctuated by a call to action and the dramatic rendering of theoretical decisions. In the middle, abstracts and snatches of thought are brought to form through sound and image. The movie opens with Myers wrapped in a white bedsheet, asleep and floating in his apartment. It’s an image Myers returns to—as if his character is reflecting on something. The movie opens with a suicide, a fantasy, then doubles back as if we have witnessed the end, and now it’s time to see what brought him there. Bits of dialogue reveal doubling between himself and his friend, his ex-wife and his new fiancée. Myers suggests we are all corruptible by a white man in a high tower but ends with a slightly more human slant and a reminder that all actions come with consequences.
An interview with writer/producer/actor/director Skinner Myers.