#ashtonsanders

[thombrowneny]

... ashton ... 

ashton sanders wears a thom browne spring 2021 oversized sack sports coat in gathered taffeta with chiffon and beaded rosettes, and unconstructed belt loop trousers on the cover of cultured magazine. 

#thombrowne #ashtonsanders #culturedmag

[alexvnderblvck]

 Ashton Sanders & Cameron Mccool for At Large Magazine Cover

 Bts by @alexvnderblvck

[doomonfilm]

Review : All Day and a Night (2020)

You’d think that a pandemic would have been enough to knock 2020 way down the list of memorable years, but leave it to America to continue with its national past-time, the racist and unjust treatment of minorities.  Many companies, as a response, made attempts to stand in solidarity with the Black Lives Matter movement, and Netflix did so by showcasing a number of films either made by Black directors or focusing on race-related issues.  Of the many films rolled out at that time, one caught my eye specifically : All Day and a Night.      

After shooting drug dealer Malcolm (Stephen Barrington) and his lady in cold blood (and in front of their daughter), aspiring rapper and street muscle Jahkor (Ashton Sanders) is facing a lifetime prison bid.  Despite many people questioning his motivations for the seemingly senseless act, Jahkor stays silent as he undergoes the trial process and prepares for prison.  Upon arrival to prison, he is reunited with his estranged father JD (Jeffery Wright), but due to their strained relationship and rocky history, not to mention Jahkor’s pressing concerns of retaliation, the reunion is timid at best.  With nothing but time in his foreseeable future, Jahkor takes a personal inventory of his life and all of the factors that led him to his current resigned fate.

All Day and a Night hones in on the ripple effect of pain in the black community, showing how the unhealthy transference of pain and frustration through violence and exploitation has become the sad, institutionalized norm rather than the exception to the rule.  As a result, many black communities serve as fodder for the pipeline to mass incarceration, as the opportunities many try to take advantage of to survive are often illegal.  With the temptations of evil on all sides, and often present for the entirety of some people’s life span, it is not an unfamiliar scenario to see short-sighted individuals living in a manner fueled by temporary gains.  Joe Robert Cole is clearly aware of all of this, and uses this reality as a way to shape his story about being trapped in a cycle… as eloquently stated in the film, he captures how “crazy (it is) to have nothing to give and want to give everything”.  It is interesting how he chooses to make Jahkor an inspiring rapper as well, specifically because he uses the vulnerability of hip-hop as a trigger for tension in the standoffish world of gangsters and drug dealers, rather than an actual manner of breaking out of the hood cycle.

In terms of themes, Cole locks in on the phenomena of generational trauma, directly displaying how the doomed lifestyle is often handed down by a mixture of nature and nurture that traces back to slavery.  The conditioning of the mind and soul that comes with nonstop exposure to violence and poverty is found in Jahkor, who starts as a young, weak and innocent boy who learns to harbor his rage and fear for the purpose of channeling it into hyper-focused violence against anyone who questions his character or threatens his livelihood and the people he loves.  Paradoxically, Jahkor also seems to have a strong set of standards, but is unable to exact them due to the savagery of the world he lives in.  The trauma of Black men fighting a war at home is displayed, and with the presence of LaMark, examined in a manner that shows how many Black men are unable to win no matter which side of the game they land on, which in turn has left an absence or inability to perform in the realms of family and community responsibilities.  The predatory nature of America from all sides is a present element in the story as well, with the film serving as a parable of how appeals to kindness and loyalty often fall on deaf ears in these areas.

The look of the film could be described as “high contrast darkness”, with rich colors attempting to emerge from the general visual muddiness that represents the world of the film.  The pacing is deliberate, still and stirring, making us wait for Jahkor to validate his actions and choices as the film rolls out his recollections of his life experiences.  The strong but subtle cinematic score punctuates the weight of the drama, and is used in place of hip-hop songs and beats used for score.  That being said, tons of Oakland culture shines through and through, including occasional songs popping up from legends connected to the city.  Most importantly, the film opts for attempting to give respect to people trapped in these bad situations, rather than glorifying the negative aspects of this struggling population while propping up trope-like heroes, antiheroes and villains.    

As previously mentioned, All Day and a Night is a film all about dramatic weight, and Ashton Sanders carries it like a seasoned professional, portraying the strain of every burden while managing to stay a vibrant on-screen presence… he likely won’t be getting any award nominations next season, but he certainly deserves them.  Jeffrey Wright and Yahya Abdul-Mateen II both get to play wonderfully against type, leaning wholly into all of the macho posturing and aggressive energy they can muster before crossing the line into satire, and maintaining beautiful harmony the entire time.  Isaiah John brings a similar intensity, but keeps the innocence of lost youth tethered to it, which results in a brooding energy with all of the potential to blow up dramatically.  Christopher Meyer brings a nobility to the table meant to offset the posturing present in the rest of the cast.  Kelly Jenrette manifests the struggles of trying to raise a family in a world of madness, channeling her pain into a sort of shielding judgement to fend off hurt, while Regina Taylor attempts to bring wisdom into a mix of reckless energy.  Supporting appearances by James Earl, Rolanda D. Bell, Andrea Lynn Elsworth, Stephen Barrington, Shakira Ja’nai Paye and Gretchen Klein round things out.

All Day and a Night wisely stays away from glorification of the hood and the lifestyle that Jahkor lives, opting instead to stand as more of a “truth of the matter” presentation of events.  While the story that is told is not a unique one, or one that is new to the world of film, it is one worth telling nonetheless, and luckily, Joe Robert Cole tells it extremely well.

[unblogparaloschicos]

Cine: Luz de luna (2016)

La primera escena presenta al pequeño Chiron siendo perseguido por unos matoncitos de su edad y, luego, refugiándose en el primer lugar que encuentra. Etapa inicial de una vida signada por la marginación, el dolor,y la certeza de que no tiene posibilidad de cambiar el rumbo de su vida porque la tiene todas en contra: pobre, negro, gay e hijo de un hogar destrozado en donde su madre (Naomie Harris) está desquiciada por el crack.

La película ahonda en su relación con Juan (el ganador del Oscar Mahershala Ali), una figura paterna que le da el soporte que desesperadamente necesita, aún cuando se desempeña como narcotraficante, vendiendo la misma clase productos que tanto ha herido a su familia. Y también revela los encuentros y desencuentros con Kevin su mejor amigo, quien conoce de su lucha interna con su sexualidad. 

Infancia, adolescencia, adultez. Las tres etapas de su vida conforman un tríptico (“Little”, “Chiron”, “Black”) en la que Chiron y Kevin son interpretados por seis actores igualmente brillantes:  Alex Hibbert, Ashton Sanders y Trevante Rhodes componen al protagonista mientras que Jaden Piner, Jharrel Jerome y André Holland representan a su mejor amigo. 

Dirigida y escrita por Barry Jenkins, quien la adaptó de la pieza teatral semiautobiográfica de Tarell Alvin McCraney (”In Moonlight Black Boys Look Blue”, “Bajo la luz de la luna los chicos negros parecen azules”), Luz de luna (”Moonlight”) ha pasado a la historia por ser la primera vencedora de la entrega de los premios de la Academia de Hollywood en tocar un tema LGBTQ. En esa ya célebre, por lo caótica, ceremonia ganó tres de ellos (Película, Actor de reparto, Guión adaptado). Tres de 161 premios, reconocimiento impresionante que, sin duda, la película merece.

[almasgeeks]

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A post shared by Almas Geeks PTY (@almasgeeks)

En #HijoNativo un joven afroamericano que vive en Chicago, ingresa a un nuevo y seductor mundo de dinero y poder luego de ser contratado como chofer para un ejecutivo rico. Estrena el 6 de abril en #HBO. #NativeSon #AshtonSanders #MargaretQualley #KiKiLayne #NickRobinson #drama #film #movies #peliculas #Panamá #pty #panama507 #panama #ig (en Panama City, Panama) https://www.instagram.com/p/BvnWlf4hmIY/?utm_source=ig_tumblr_share&igshid=vd16o7c057gs

[boysbygirls]

In our brand new Autumn Winter '18 issue ‘The Dreamers’,  photographer storyteller extraordinaire Danielle Levitt captures Ashton Sanders. The ‘Moonlight’ star opens up about making his mark on the film industry, and his journey to pursue projects which seek to present a commentary on social issues on the past, the present and the future. Fashion by Sean Knight. Grooming by Tasha Broan. See the teaser feature and how to get yourself a copy here Ashton wears full outfit by Kenneth Nicholson

[domesticulture]

Camp Champ 💯 . . . #MetGala #JaredLeto #Gucci #LewisHamilton #TommyHilfiger #AshtonSanders #Talfar #DarrenCriss #Balmain #HarryStyles https://www.instagram.com/p/BxJkvdrpNNl/?utm_source=ig_tumblr_share&igshid=1ghgw49qvll27

[nospoilerreviews]

Judas and The Black Messiah becomes another movie to join the conspiratorial ranks of The Departed, and Spike Lee's BlackKklansman. https://is.gd/Y9mnVo

[daniellelevitt]

Ashton Sanders for @boysbygirls Talent Ashton Sanders @ashtondsanders Photography Danielle Levitt @daniellelevitt Fashion Sean Knight @seanknight Production Stephanie Porto @stephanieporto Interview Hedvig Werner @hedvigwerner Set Design Brittany Porter @thebritttt Fashion Assistant Rob Ziemer Grooming Tasha Broan #moonlight #AshtonSanders https://www.instagram.com/p/BotxOYQFoAd/?utm_source=ig_tumblr_share&igshid=1b9wy73gsgf4p

[thombrowneny]

... ashton ... 

ashton sanders wears a thom browne spring 2021 oversized sack sports coat in gathered taffeta with chiffon and beaded rosettes, and unconstructed belt loop trousers on the cover of cultured magazine. 

#thombrowne #thombrowness21 #ashtonsanders #culturedmag

[doomonfilm]

Review : Judas and the Black Messiah (2021)

The buzz surrounding Judas and the Black Messiah has been massive, so much so to the point that even my father recently asked me if I was hip to it.  It’s odd how COVID-19 and the year 2020 rewired us in ways we didn’t even realize, but I am just now understanding how long it has been since I truly anticipated a movie release date like this one.  With the film falling squarely in the heart of Black History Month and focusing on the sad and tragic death of Fred Hampton, it seemed like a no-brainer to jump into this one at the first opportunity possible.

Despite their intentions to protect and educate their impoverished communities, the Black Panther Party finds themselves targeted by J. Edgar Hoover (Martin Sheen), the F.B.I. and COINTELPRO in an effort to undermine and destroy the group.  After he is caught impersonating an F.B.I. agent in an attempt to steal a car from a Black Panther party member, petty criminal Bill O’Neal (Lakeith Stanfield) finds himself assigned as an F.B.I. informant tasked with infiltrating the Chicago chapter of the Black Panther Party in hopes of getting him close to Fred Hampton (Daniel Kaluuya) so that he can report back to F.B.I. Agent Roy Mitchell (Jesse Plemons), his handler.  O’Neal quickly finds himself in Hampton’s inner circle, but due to O’Neal’s checkered past interactions with the criminals that the Black Panthers are trying to turn to their side, O’Neal finds himself under intense scrutiny from both sides.  Meanwhile, Hampton begins to make true inroads by uniting Black, White and Puerto Rican groups in Chicago under the banner of erasing oppression, and with each step in the right direction, the F.B.I.-based target on his back grows.

Framing the film as flashbacks and recollections of Bill O’Neal that occur during an interview taping for the very real Eyes on the Prize documentary immediately drives home way that O’Neal is split between two sides of a war on ideals.  O’Neal is literally forced to be two different people depending on whom he is associating with at any given time, and based on this lifestyle, there is never a true moment where we see him at ease or laid-back, which helps root the narrative tension that walks viewers up to the sad and inevitable ending.  All the while, we are also shown just how many irons the F.B.I. had in the fire, to the point that the left hand has no idea what the right hand is doing.

What really makes the film work is the authenticity in regards to the area and the era in which the film takes place.  Chicago had an infamous history in regards to the Black Panther Party, but the film does a good job of making sure that people understand that the Crowns, the Gangster Disciples and the Black P-Stone Rangers all had just as much influence on the community at the time.  The echoes of the tragedies that beset the Civil Rights Movement are continually brought up in the film, along with several moments focusing on other icons of the Black Panther Party and their current state of affairs.  The way that the movement devolves into chaos, courtesy of the police and F.B.I., helps viewers understand why so many inner-city locations are in the state that they’re still in, and clarifies to those who don’t know how the goal was always to destabilize the disenfranchised.

For a film about such a cold and calculated assassination of a political figure that spoke for the streets, the visual tone is incredibly warm and inviting, and the juxtaposition is stark enough to keep viewers glued to the screen.  It also helps establish the downfall of the party, as the warmness gradually fades form the film, leaving it bathed in blacks and blues.  The film mostly focuses on ideals and political philosophy, but when it finds itself in the realm of action is does not disappoint... the depictions of conflict between the police and the Panthers feel like guerilla warfare in their rawness.  Only the best songs from the era are chosen for the soundtrack, which leaves room for the moving and emotional film score to do it’s job by pulling us into the depths with those struggling to survive and stay afloat.

For the most park, Daniel Kaluuya tends to play reserved and withdrawn characters, and at times he channels this in his performance, but he also proves himself more than capable of achieving the fire, passion and gravitas it takes to portray an iconic leader like Fred Hampton.  Lakeith Stanfield maneuvers through the film like a mouse dancing around traps, trying his best not to be caught while edging closer and closer to springing the demise of his downfall, with all of the paranoia one imagines would come with this set of circumstances.  Jesse Plemons keeps his eyes on the prize (no pun intended) with an unwavering and statuesque dedication to the end game, all the while feigning the least amount of care it takes to convince O’Neal.  Dominique Fishback brings much needed tenderness to the a film full of strife, tension and double-crossing intentions, helping to soften the razor-sharp edginess present.  Ashton Sanders, Darrell Britt-Gibson, Algee Smith, Jermaine Fowler and Dominique Thorne all step up to the plate and do the Black Panther Party justice in their portrayals of their respective group members.  Martin Sheen brings his stature to the table in his role a J. Edgar Hoover, and supporting appearances by Lil Rel Howery, Robert Longstreet, Terayle Hill, Amari Cheatom, Caleb Eberhardt and Mark Francis fill things out.

Shaka King really and truly stepped up to the plate for this historical drama.  Based on the production of this film versus the date it was released, I am unsure of where it will fall in terms of awards consideration, but I hope that it is cued up for next year, because I can see a Best Director nomination for King, a Best Picture nomination, and perhaps even a Best Actor or Best Supporting Actor win for Stanfield.  Regardless of what accolades this film may or may not achieve, it is almost certain to go down in history as an important film.

[thatsmovietalk]

The Equalizer 2 (2018) Directed and Produced by #AntoineFuqua Starring #DenzelWashington #PedroPascal #AshtonSanders #BillPullman #MelissaLeo #TheEqualizer2 #Hollywood #hollywood #picture #film #movie #cinema #films #theater #movies #movieposter #movieworld #movielovers #movienews #screen https://www.instagram.com/p/CTQMlpbBCla/?utm_medium=tumblr

[averybrockwood-blog]

@khalilslimm by @averybrockwood

[gallvin1]

@ashtondsanders 🤘🏾🤘🏾 #ashtonsanders #pfw #fashion . . . . . . . . . . . . . . . . . #gallvin #gallvin_ #gallvin__ #gallvinmusic #mensfashion #menshairstyle #celebrity #celebritystyle #instafollow

[luxfalso]

Ashton Sanders for Another Man Photography @ethanjamesgreen Styling @alistermackie • • • • #anotherman #ethanjamesgreen #alistermackie #ashtonsanders #photography #photographer #styling #stylist #tattoo #blackman #blackexcellence #editorial #magazine #editorialfashion #hannaluck #edit #beautiful #love #tattoo #snake #snakeprint #animalprint #fashionblogger #blogger #aesthetic #nostalgia #archive #moodboard https://www.instagram.com/p/CBQ4u8vh6c-/?igshid=1f032rja2ec9o