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The first time historian Keisha N. Blain taught a lesson on Emmett Till, she cried. Blain remembers feeling “completely embarrassed” about the moment.
New York Film Festival highlights: ‘White Noise,’ ‘She Said,’ ‘Women Talking,’ ‘Till’ and moreMINNEAPOLIS -- The Twin Cities Film Fest has unveiled its lineup for the 2022 festival and, as it often does, it contains a number of films tipped for this year's Oscars and year-end top 10 lists.

The opening night film is director Chinonye Chukwu's \"Till,\" which tells the story of Mamie Till Mobley, the mother of Emmet Till, whose brutal 1955 murder at age 14 is thought to have fueled the ensuing civil rights movement for Black equality in the ensuing decades. \"Till\" screens Thursday, Oct. 20.

The closing night selection is \"Empire of Light,\" starring Olivia Colman and directed by Sam Mendes, his first film since the Oscar-winning \"1917.\" The movie is described as a love story set in the '80s, with strong \"magic of cinema\" overtones. That film screens Saturday, Oct. 29.

And, as the centerpiece \"Spotlight\" selection, director Maria Schrader's \"She Said,\" the story of how two New York Times reporters broke the story that helped launch the #MeToo movement against sexual assault and harassment.

Also in this year's lineup:

James Gray's \"Armageddon Time\" (Oct. 21)
Martin McDonagh's \"The Banshees of Inisherin\" (Oct. 23)
Lukas Dhont's \"Close\" (Oct. 23)
Michael Grandage's \"My Policeman\" (Oct. 20)
Sarah Polley's \"Women Talking\" (Oct. 28)
Also included in the fest's program is a series devoted to spotlighting projects that address climate change, a focus on female and BIPOC filmmakers, locally-produced shorts and features, and more.

\"We believe in the power of film. That's become the Twin Cities Film Fest mantra — and again this year, as we've seen filmmakers' and audiences' resilience in reemerging from the pandemic, we've been overwhelmed by the originality and artistry on display in the hundreds and hundreds of submissions that flooded our office,\" TCFF Executive Director Jatin Setia said. \"Nothing provokes discussion, or evokes empathy, more successfully than film, and in this year's diverse visions, we're hoping audiences feel transported — to different places, into different lives, with a deeper understanding of the world in which we all live.\"

Click here for the full schedule and ticket information. Tickets will range from $9 online and $12 in person, to $20 for the opening, closing and \"Spotlight\" features.
“It was hard for me to present this history that I knew they needed to know,” Blain says. “It just hit me in this powerful way that I started crying.”

Despite the difficult nature of Till’s story, the Brown University professor says the upcoming film about his brutal murder is essential viewing.“Till” is set to be released in October 2022. When the trailer dropped in July, it was met with some sharp criticism on Black Twitter: Some users debated the film’s necessity while others declared they wouldn’t watch it due to the traumatic and disturbing subject matter.

But Blain feels the film is important.

“I think the timing is perfect because it helps to provide the historical context first,” she says. “The reality is that we can't assume that all Americans are aware of [Till’s] story and of this particular history.”

Official \"Till\" poster. (Orion Pictures)
Official \"Till\" poster.

In 1955, 14-year-old Till was brutally murdered while visiting family in Mississippi. While specific details preceding the murder remain unclear, Till allegedly whistled at Carolyn Bryant, a shop clerk. Days later, Bryant’s husband and brother-in-law kidnapped Till, beat him, and shot him before tossing his body in the Tallahatchie River.

Three days later, Till’s corpse was uncovered, disfigured beyond recognition save for a ring he was wearing at the time. Till’s mother, Mamie Till-Mobley, decided on an open casket for her son, exposing the country to what had happened to her boy.

WBUR is a nonprofit news organization. Our coverage relies on your financial support. If you value articles like the one you're reading right now, give today.

The film comes at an opportune moment: On March 29 of this year, President Biden signed the Emmett Till Antilynching Act, making lynching a federal hate crime. This summer also saw a jury decline to indict Till’s accuser who catapulted the events leading to his murder.

The truth needs to be told honestly and authentically, Blain says. In some parts of the country, efforts are being made to limit the nation’s history of already underrepresented communities in classrooms.

Blain says the recording of George Floyd’s death in 2020, while not easy to watch, played a key role in the trial convicting his killers. She adds that filmmakers should be careful and consider their audience.

“The reality is that we can't assume that all Americans are aware of [Till’s] story and of this particular history.”
KEISHA N. BLAIN
“You don't want to necessarily traumatize people,” she says. “But you also want to be honest in the representations.”

While working on her last book and reading about the struggles of civil rights activist Fannie Lou Hamer, Blain started seeing a therapist to process learning about traumatic historical events.The 60th annual edition of the New York Film Festival kicks off on Friday night with the North American premiere of Netflix’s “White Noise” – the first of many awards contenders set to screen at the Manhattan fest as the season marches forward.

“White Noise,” which actually kicked off the 2022 Venice Film Festival back in August, is Noah Baumbach’s latest project for the streamer and his first since “Marriage Story” landed numerous Oscar nominations in 2020, including Best Picture, Best Original Screenplay for Baumbach, Best Actor for Adam Driver, Best Actress for Scarlett Johansson, and Best Supporting Actress for Laura Dern (Dern was the film’s sole winner). The early reviews for “White Noise” leaned positive – with Baumbach’s adaptation of the Don DeLillo novel holding a 68 rating on Metacritic. That gives “White Noise” an edge, at least from a critical perspective, over a handful of other top awards contenders that proved more polarizing on the festival run, like Netflix’s own “Bardo” (51 rating on Metacritic) and (60 rating on Metacritic

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