Black Women’s Hair and Horror Movies: What Could Go Wrong?

By | October 29, 2020
Black Women’s Hair and Horror Movies: What Could Go Wrong?

Black Ladies’s Hair and Horror Motion pictures: What Might Go Improper?

Midway by means of “Unhealthy Hair,” Justin Simien’s horror-comedy on Hulu, a bunch of Black girls sit in a convention room and debate the deserves of adjusting their hairstyles to evolve to the brand new company local weather at Tradition, the Black music tv community the place they work.

Donning giant gold hoop earrings, a slouchy beanie hat and a head stuffed with pure coiled curls, Sista Soul (Yaani King Mondschein), a VJ there, is the final holdout. “I’m not altering who I’m simply to enchantment to some whiter,” she asserts, earlier than pausing after which correcting herself, “wider demographic.”

After flipping her personal newly sewn-in hair weave, Anna (Elle Lorraine), Sista’s colleague and the main target of the film, calmly retorts, “Nobody is asking you to vary who you might be. Simply the way in which you look.”

Such a pivot is not possible as a result of the weaves in “Unhealthy Hair” are literally evil spirits that possess and take over the personalities of the ladies carrying them, finally turning the natural-hair carrying Anna, who’s painfully shy in the beginning of the movie, right into a long-flowing-maned unwitting serial killer.

Simien (“Pricey White Individuals”) has described his satire horror as “a really bizarre love letter to Black girls and the unparalleled energy they possess to endure and persevere,” and he set his movie in 1989, the 12 months that Black Leisure Tv debuted “Rap Metropolis.” That hip-hop music video present featured an astounding variety of Black girls entertainers and dancers carrying weaves. On the similar time, common girls discovered weaves extra obtainable, although nonetheless fairly costly, in addition to extra numerous in colour, texture and software methods, making it considerably more durable to discern whether or not the look was actual or faux.

Simien’s love letter is extra a cheeky lament that mourns the massive monetary prices and psychological toll these early hair weaves took on Black girls. However the true loss is the film’s portrayal of Black girls’s hair as a commodity and competitors for which they’re prepared to die or kill. In distinction, a latest crop of French and American movies, together with “Hair Wolf,” “Nappily Ever After” and “Le Bleu Blanc Rouge De Mes Cheveux,” has additionally taken up themes involving hair and cultural assimilation. However these movies, together with “Chez Jolie Hairstyle” and “Liberty,” all directed by girls of colour, reveal what additionally may be gained when Black girls form their very own hair cultures as areas of ingenuity, intimacy and communal delight.

In some ways, “Unhealthy Hair” may be very very like “Good Hair,” the 2009 documentary narrated by Chris Rock and impressed by his want to grasp the obsession that his daughters and different Black women and girls have with “good hair.” That time period is commonly used amongst African-Individuals to valorize naturally straight or wavy hair, and denigrate the extra tightly coiled “unhealthy” hair textures. Along with touring to hair exhibits in Atlanta and wonder parlors and barbershops in Brooklyn, Rock journeys to India in the hunt for the ladies who promote their hair for weaves. In a single significantly notable dialogue with the Rev. Al Sharpton, each males bemoan the amount of cash Black girls spend on their hair, solely to commiserate over what appears to essentially hassle them: how costly it’s for them and different Black fathers and husbands who’re anticipated to bear the prices.

That scene didn’t age effectively. Watching the film once more not too long ago, I used to be struck by how a lot Rock recognized “good hair” as a want of primarily Black girls, with out reflecting on how usually, even within the casting of his films, Black girls with lengthy, wavy hair are thought of extra engaging, and thus imbued with extra social capital, than different Black girls.

It’s a distinct story when girls are in control of the narratives. “Hair Wolf,” by Mariama Diallo, and “Nappily Ever After,” by Haifaa al-Mansour (“Wadjda”), additionally take these contradictions head-on, however from the vantage level of Black feminine protagonists who should be taught to embrace their pure hair as a type of racial resistance and girls’s empowerment.

The horror-comedy quick “Hair Wolf” (obtainable on HBO) takes place in a Black salon whose employees has to stay collectively to fend off the vampiric impulses of Rebecca, a white girl who appropriates African-American tradition — Black hairstyles, the Black Lives Matter motion, even Black males. The one method that the glamorously dressed, natural-hair-wearing Cami (Kara Younger) and Eve (Taliah Webster) who work there can resist these incursions is by conjuring up the names of Black girls like Tina Turner, Janet Jackson, Angela Bassett, and Gabrielle Union, whose enduring magnificence appears to withstand the calls for of growing older and time.

The Netflix romantic comedy “Nappily Ever After” (based mostly on the novel of the identical title by Trisha R. Thomas) stars Sanaa Lathan as Violet, a advertising and marketing govt who unintentionally loses her hair after carrying a chemical relaxer for too lengthy. When she breaks up together with her noncommittal boyfriend, the film explores her many phases of grief and numerous hairstyles. (She tries weaves, going blonde, shaving all of it off, and the press and curl.) As with Anna from “Unhealthy Hair,” Violet’s hair drama started as childhood trauma, and to beat it, she should shed the luggage of her previous, in addition to lower all her hair off.

And but, typically one girl’s liberation may be one other lady’s oppression. At the very least that is true of Josza Anjembe’s 2016 “Le Bleu Blanc Rouge De Mes Cheveux,” a brief about Seyna (Grace Seri), a 17-year-old Cameroonian who needs to be a French citizen. Towards her father’s needs, Seyna is able to denounce her nationality and tries to submit her paperwork for naturalization, solely to be turned away as a result of her Afro stands proud an excessive amount of for her official picture ID. In any case her locks are shaved off, Seyna should determine if changing into a French nationwide is value dropping a lot of her identification and tradition.

Whereas debates about immigration partly impressed Rosine Mfetgo Mbakam’s 2019 documentary “Chez Jolie Hairstyle,” it’s also about Sabine, a Cameroonian immigrant who runs the Jolie Hairstyle salon in what’s referred to as the African quarter of Brussels. Very similar to the 2005 “Magnificence Store” starring and produced by Queen Latifah, Mbakam’s film highlights the ingenuity of Black stylists who’re anticipated to be as versatile as Black girls’s hair itself and have the ability to lower pure hair, add extensions and put in chemical relaxers. However, as a result of “Chez Jolie Hairstyle” is shot totally within the confines of the store, the movie additionally reveals how Black immigrant girls worth the salon as a well-recognized area in an unfamiliar nation, a middle the place they’ll additionally go to hunt authorized recommendation and be part of casual skilled networks.

Displacement and loss drive Faren Humes’s “Liberty,” a brief about two ladies, Loggy (Milagros Gilbert) and Alex (Alexandra Jackson), who’re making ready to bounce at a groundbreaking ceremony for the event of latest properties at Liberty Sq., one of many oldest public housing websites within the nation. The development not solely interrupts their rehearsals with its noise but in addition checks the bond of their friendship when Alex tells Loggy that she has to maneuver as a result of her constructing is scheduled to be demolished. In photographs evocative of the braiding scenes in Julie Sprint’s “Daughters of the Mud,” Humes presents up the intimacy of Black ladies doing one another’s hair as a salve offering a way of sisterhood within the face of the unknown.

In that tense dialog with Sista Soul in “Unhealthy Hair,” Brook-Lynne (Lena Waithe) tries to persuade her to vary by noting, “Black girls are magic, that. We may put our hair all the way in which as much as the sky, drape it all the way down to our shoulders, or someplace in between.”

These films present that vitality and far more by reminding us of how Black girls have used their hair to disclose its different powers: its capacity to encourage, join and heal.

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