#nia dacosta
Tell EVERYONE…
Candyman (2021) and (1992)
the marvels being directed by a beautiful talented black woman who has directed incredible films before. im so excited to see what she does for the film, i just know shes gonna do monica and maria justice
You wanna be part of the story right?
In a horror film, the appearance of a mirror is so familiar a trope that we’re primed for a scare. We tense up so tightly that the scare often falls flat. In Candyman, Nia DaCosta plays with these reflective surfaces and our expectations in fantastic ways. While the film’s scares are more rooted in the very real and systemic violence the poor and Black residents of Chicago face every day, I was distracted. Not so much by the frustratingly direct ways it wants to comment on gentrification and race, but by its interiors.
Cara Brower’s interiors don’t just speak to gentrification or obvious luxury as much as they do to taste. The walls, furniture and art don’t just look expensive, they’re beautiful. The colors are deep, fabrics feel tactile and objects totally considered. Everything compliments everything so well that it’s often hard to notice the reflection of Candyman when there’s that stunning bookshelf demanding your attention. But, maybe, that’s the point. Because when you do spot him, you startle.
Why did you let your guard down? How did you miss him? He’s right there.
It’s DaCosta… Nia DaCosta’s Candyman