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Belcourt - Nashville's Nonprofit Cinema

BRONX GOTHIC: Post-screening storytelling discussion led by Tia Mitchell, teaching artist with Southern Word (11:00am)

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BRONX GOTHIC: Post-screening storytelling discussion led by Tia Mitchell, teaching artist with Southern Word (11:00am)

Part of Doctober.

Sat, Oct 7, 11:00am:Post-screening storytelling discussion followed by a short writing exercise in the 2nd floor Jackson Education and Engagement Space, led by Tia Mitchell, teaching artist with Southern Word. Post-screening discussion/activity is free with movie ticket; and seating upstairs is first-come, first served. Participants will recall words that incite strong emotion. They will use imagery and allusion to paint the external perspectives they've experienced, before dealing with their internal truth regarding the words. This will allow them to creatively tell a part of their story, acknowledging the world's view, and with a "twist" reveal their own. BUY TICKETS

From director Andrew Rossi (PAGE ONE: INSIDE THE NEW YORK TIMES) 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.

“In language that is by turns blunt and poetic, crudely funny and incantatory, Ms. Okpokwasili conjures and probes…adolescent friendship, a jumble of insults, anger and love. And Ms. Okpokwasili is a magnetic performer. In a voice that can be confiding or terrifying and movement that can be ugly or sinuous, she holds the show together, lending her story unexpected emotional and physical contours.” —Rachel Saltz, The New York Times

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