We're officially halfway through 2019, and while plenty of great movies are still scheduled to premiere--like Disney's Lion King or the highly anticipated Luce--the year has delivered an array of great, black-led movies. Many of which can be an instant fave for any movie-goer. From superhero stories and teen thrillers to movies about basketball players and eye-opening documentaries, films this year have shown that not only are they capable of having captivating black leads, but they are capable of telling some groundbreaking stories, too.
What's also groundbreaking is the fact that rather than in your local theater, most of these films can be found on streaming platforms in the comfort of your own home. And while all of them might not be your cup of tea, the top black led-movies of 2019 so far all have one thing in common: they're pioneering, original, and worth every second of your time.
Here are the top nine black-led movies of 2019, where you can find them, and reasons why you should.
See You Yesterday, Netflix
Tribeca Film Institute
What can be said about See You Yesterday that already hasn't been said? The movie's cinematography is enough to entice you, but the story is more than enough to make you stay. Following sixteen-year-old Claudette "CJ" Walker, the story of See You Yesterday tells of two science prodigies who travel back in time to save CJ's older brother from dying at the hands of police. Along the way CJ and friends encounter problem after problem, discovering the truth of the police brutality that we are all afraid to say. Despite teaching our black brothers and sisters what to do and what not to do at the hands of cops, it isn't them who really need to change. It's society itself. And until that happens, we will all be seeing each other, in some way or form, continuously living the problems of yesterday. With outstanding performances by Stro, Eden Duncan-Smith, and Dante Crichlow, this movie is certainly a must watch for 2019.
High Flying Bird, Netflix
Three years ago, EuropaCorp released a film titled Miss Sloane about a lobbyist who has been called to appear at a congressional hearing, to answer questions about possible violations of Senate ethic rules. The movie was written to have sharp dialogue, even sharper characters, and it was meant to tell a story of a world unfamiliar to us. But when it premiered, it fell flat. The characters weren't real. The dialogue and characters were so sharp that it completely severed the audience from the story; and although the political world of lobbyist was unfamiliar, we couldn't care less about it or the people in it. High Flying Bird is really similar to Miss Sloane. The only difference: High Flying Bird gets it right.
Following sports agent Ray Burke, High Flying Bird takes us into the world of the NBA during the lock-down. It tells about the importance of an NBA player's talent, their charisma, their public image, and how difficult it can be to manage the three harmoniously. The characters are razor sharp, revealing the concerns that define the modern athlete while also remaining wickedly entertaining at the same time. The dialogue welcomes you into the world but doesn't seclude you. And the story gets more and more interesting as the minutes add up to the final one. With appearances from actual NBA players and top-notch performances from their all-star cast, High Flying Bird, shows that there are innumerable ways to be witty, innovative, and entertaining. Plus, the whole damn film was shot entirely on an iPhone 8. What could be better than that?
Us, Amazon and YouTube
Industrial Light & Magic/Universal Pictures
Anytime someone establishes an "us" there is a "them." And the "them" in this movie…well, they're "us," and that's truly something to be terrified of. Starring Black Panther and Yale alums, Lupita Nyong'o and Winston Duke, the story of Us follows Adelaide Wilson (Nyong'o), who returns to the beachfront home where she grew up as a child. Nevertheless, things spiral quickly—as they always do—when the family returns home and are acquainted with their very violent, very malicious doppelgängers. With Jeremiah's bible scripture, "Therefore this is what the Lord says: 'I will bring on them a disaster they cannot escape. Although they cry out to me, I will not listen to them," continuously rearing its ugly head, Peele tells a petrifying story of one of the biggest problems we face as a society: ourselves. And it's hard to escape a problem when we are unwilling to faithfully and diligently look in the mirror.
The Black Godfather, Netflix
Netflix's The Black Godfather accounts the exceptional and unlikely rise of Clarence Avant, a music executive whose cutting-edge behind-the-scenes accomplishments impacted the legacies of icons such as Bill Withers, Quincy Jones, Muhammad Ali, and Hank Aaron.
Driven by a sense of equality, loyalty, and justice, Avant left the Jim Crow south behind to emerge as a powerhouse negotiator at a time when deep-seated racism penetrated every corner of America. Avant defied notions of what a black executive could do, redefining the industry for entertainers and executives of color, and leaving a legacy of altruism for others to emulate.
Black Mother, Netflix
New York photographer Khalik Allah's Black Mother is littered with lyricism, spirituality, culture and history in this "vivid pictorial and philosophical journal" dedicated to Jamaica and its tough yet burdened women. Black Mother is a fresh piece of work in both how it progresses from shocking and gentle to chaotic and serene extremes, and how it's assembled like a scrapbook of remembrances.
Homecoming: A Film by Beyoncé, Netflix
Parkwood Entertainment/Parkwood Entertainment
I have no words.
I have absolutely no words.
The title alone should entice you enough to watch the documentary. However, if you're one of those people who need a little more before you select "play," here it goes: It's Beyoncé, doing Beyoncé, the only way Beyoncé can—pretty damn well.
The Boy Who Harnessed the Wind, Netflix
The Boy Who Harnessed the Wind tells the true story of William Kamkwamba, a young Malawian genius who built a windmill to save his family and village from drought and famine. Written and directed by Oscar-nominated actor Chiwetel Ejiofor, the story of William Kamkwamba is an unforgettable child prodigy film that is much-needed for black children in 2019. The film is charming and ambitious and there's something disconcerting about rooting for a character to invent something that should have been easy to access in the first place—but Kamkwamba has will have your unshakable support the entire time.
Guava Island, Amazon
Filmed secretly in Cuba and released with little fanfare on Amazon, Guava Island is a musical-romance-thriller from the team behind FX's Atlanta, director Hiro Murai and Donald Glover. Cast as the man of the people, Glover plays Deni—a musician on Guava Island who wants to liberate his people and inevitably faces the consequences for such a life. With the supporting cast of musician and actress Rihanna, who plays his girlfriend Kofi, Guava Island showcases what it is like to have a dream and what happens when you face you do the right thing.
The Last Black Man in San Francisco, Select Movie Theaters
Awarded Best Director and the Special Jury Award from Sundance Film Festival, The Last Black Man in San Francisco tells the story of best friends, Jimmie and Mont, who are trying to reclaim the house built by Jimmie's grandfather. While trying to reclaim the house the duo revisit their past, test their friendship, and find a sense of belonging in the place they call home. Based on the life of star Jimmie Fails and the friendship of Fails and screenwriter Joe Talbot, Fails describes the movies as a "love story about [himself] and a house." Critically acclaimed for its cinematography and story, The Last Black Man in San Francisco is surely a movie to add to your must-watch list this year.
Want more stories like this? Sign up for our newsletter here and check out the related reads below:
Everything You Need To Know About 'Us'
Here's A List Of Everything That's New & Black AF On Netflix This July
Everything We Learned From Beyonce's 'Homecoming'
Taysha Robinson is a writer and high school English teacher, based in metro-Atlanta. A self described philomath, you can find her reading books and articles of every genre, attending educational conferences, and hiking wherever the terrain will allow.
Amber Riley Is In Her Element
Amber Riley has the type of laugh that sticks with you long after the raspy, rhythmic sounds have ceased. It punctuates her sentences sometimes, whether she’s giving a chuckle to denote the serious nature of something she just said or throwing her head back in rip-roarious laughter after a joke. She laughs as if she understands the fragility of each minute. She chooses laughter often with the understanding that future joy is not guaranteed.
Credit: Ally Green
The sound of her laughter is rivaled only by her singing voice, an emblem of the past and the future resilience of Black women stretched over a few octaves. On Fox’s Glee, her character Mercedes Jones was portrayed, perhaps unfairly, as the vocal duel to Rachel Berry (Lea Michele), offering rough, full-throated belts behind her co-star’s smooth, pristine vocals. Riley’s always been more than the singer who could deliver a finishing note, though.
Portraying Effie White, she displayed the dynamic emotions of a song such as “And I'm Telling You I'm Not Going” in Dreamgirls on London’s West End without buckling under the historic weight of her predecessors. With her instrument, John Mayer’s “Gravity” became a religious experience, a belted hymnal full of growls and churchy riffs. In her voice, Nicole Scherzinger once said she heard “the power of God.”
Credit: Ally Green
Riley’s voice has been a staple throughout pop culture for nearly 15 years now. Her tone has become so distinguishable that most viewers of Fox’s The Masked Singer recognized the multihyphenate even before it was revealed that she was Harp, the competition-winning, gold-masked figure with an actual harp strapped to her back.
Still, it wasn’t until recently that Riley began to feel like she’d found her voice. This sounds unbelievable. But she’s not referring to the one she uses on stage. She’s referencing the voice that speaks to who she is at her core. “Therapy kind of gave me the training to speak my mind,” the 37-year-old says. “It’s not something we’re taught, especially as Black women. I got so comfortable in [doing so], and I really want other people, especially Black women, to get more comfortable in that space.”
“Therapy kind of gave me the training to speak my mind. It’s not something we’re taught, especially as Black women."
If you ask Riley’s manager, Myisha Brooks, she’ll tell you the foundation of who the multihyphenate is hasn’t changed much since she was a kid growing up in Compton. “She is who she is from when I met her back when she was singing in the front of the church to back when she landed major roles in film and TV,” Brooks says. Time has allowed Riley to grow more comfortable, giving fans a more intimate glimpse into her life, including her mental health journey and the ins and outs of show business.
The actress/singer has been in therapy since 2019, although she suffered from depression and anxiety way before that. In a recent interview with Jason Lee, she recalls having suicidal ideation as a kid. By the time she started seeing a psychologist and taking antidepressants in her thirties, her body had become jittery, a physical reminder of the trauma stacked high inside her. “I was shaking in [my therapist’s] office,” she tells xoNecole. “My fight or flight was on such a high level. I was constantly in survival mode. My heart was beating fast all the time. All I did was sweat.”
There wasn’t just childhood trauma to account for. After auditioning for American Idol and being turned away by producers, Riley began working for Ikea and nearly missed her Glee audition because her car broke down on the highway while en route. Thankfully, Riley had been cast to play Mercedes Jones. American Idol had temporarily convinced her she wasn’t cut out for the entertainment industry, but this was validation that she was right where she belonged. Glee launched in 2009 with the promise of becoming Riley’s big break.
In some ways, it was. The show introduced Riley to millions of fans and catapulted her into major Hollywood circles. But in other ways, it became a reminder of the types of roles Black women, especially those who are plus-sized, are relegated to. Behind the scenes, Riley says she fought for her character "to have a voice" but eventually realized her efforts were useless. "It finally got to a point where I was like, this is not my moment. I'm not who they're choosing, and this is just going to have to be a job for me for now," she says. "And, that's okay because it pays my bills, I still get to be on television, I'm doing more than any other Black plus-sized women that I'm seeing right now on screen."
The actress can recognize now that she was navigating issues associated with trauma and low self-esteem at the time. She now knows that she's long had anxiety and depression and can recognize the ways in which she was triggered by how the cult-like following of the show conflicted with her individual, isolated experiences behind the scenes. But she was in her early '20s back then. She didn't yet have the language or the tools to process how she was feeling.
Riley says she eventually sought out medical intervention. "When you're in Hollywood, and you go to a doctor, they give you pills," she says, sharing a part of her story that she'd never revealed publicly before now. "[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that's not fixing my problem. If anything, it's making it worse."
“[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that’s not fixing my problem. If anything it’s making it worse.”
Credit: Ally Green
At one point, while in her dressing room on set, she rested her arm on a curling iron without realizing it. It wasn't until her makeup artist alerted her that she even realized her skin was burning. Once she noticed, she says she was "so zonked out on pills" that she barely reacted. Speaking today, she holds up her arm and motions towards a scar that remains from the incident. She sought help for her reliance on the pills, but it would still be years before she finally attended therapy.
This stress was only compounded by the trauma of growing up in poverty and the realities of being a "contract worker." "Imagine going from literally one week having to borrow a car to get to set to the next week being on a private jet to New York City," she says. After Glee ended, so did the rides on private planes. The fury of opportunities she expected to follow her appearance on the show failed to materialize. She wasn't even 30 yet, and she was already forced to consider if she'd hit her career peak.
. . .
We’re only four minutes into our Zoom call before Riley delivers her new adage to me. “My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway,” she says.
On this Thursday afternoon in April, the LA-based entertainer is seated inside her closet/dressing room wearing a cerulean blue tank top with matching shorts and eating hot wings. This current phase of healing hinges on balance. It’s about having discipline and consistency, but not at the risk of inflexibility. She was planning to head to the gym, for instance, but she’s still tired from the “exhausting” day before. Instead, she’s spent her day receiving a massage, eating some chicken wings, and planning to spend quality time with friends. “I’m not going to beat myself up for it. I’m not going to talk down to myself. I’m going to eat my chicken wings, and then tomorrow I’m [back] in the gym,” she says.
“My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway."
This is the balance with which she's been approaching much of her life these days. It's why she's worried less about whether or not people see her as someone who is humble. She'd rather be respected. "I think you should be a person that's easy to work with, but in the moments where I have to ruffle feathers and make waves, I'm not shying away from that anymore. You can do it in love, you don't have to be nasty about it, but I had to finally be comfortable with the fact that setting boundaries around my life – in whatever aspect, whether that's personal or business – people are not going to like it. Some people are not going to have nice things to say about you, and you gotta be okay with it," she says.
When Amber talks about the constant humbling of Black women in Hollywood, I think of the entertainers before her who have suffered from this. The brilliant, consistent, overqualified Black women who have spoken of having to fight for opportunities and fair pay. Aretha Franklin. Viola Davis. Tracee Ellis Ross. There's a long list of stars whose success hasn't mirrored their experiences behind the scenes.
Credit: Ally Green
If Black women outside of Hollywood are struggling to decrease the pay gap, so, too, are their wealthier, more famous peers.
Riley says there’s been progress in recent years, but only in small ways and for a limited group of people. “This business is exhausting. The goalpost is constantly moving, and sometimes it’s unfair,” she says. But, I have to say it’s the love that keeps you going.”
“There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman,” she continues. “We’re still niche. We’re still not main characters.”
"There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman. We’re still niche. We’re still not main characters.”
Last year, Riley starred alongside Raven Goodwin in the Lifetime thriller Single Black Female (a modern, diversified take on 1992’s Single White Female). It was more than a leading role for the actress, it also served as proof that someone who looks like her can front a successful project without it hinging on her identity. It showcased that the characters she portrays don’t “have to be about being a big girl. It can just be a regular story.”
Riley sees her work in music as an extension of her efforts to push past the rigid stereotypes in entertainment. Take her appearance on The Masked Singer, for instance. Riley said she decided to perform Mayer’s “Gravity” after being told she couldn’t sing it years earlier. “I wanted to do ‘Gravity’ on Glee. [I] was told no, because that’s not a song that Mercedes would do,” she says. “That was a full circle moment for me, doing that on that show and to hear what it is they had to say.”
As Scherzinger praised the “anointed” performance, a masked Riley began to cry, her chest heaving as she stood on stage, her eyes shielded from view. “You have to understand, I have really big names – casting directors, producers, show creators – that constantly tell me ‘I’m such a big fan. Your talent is unmatched.’ Hire me, then,” she says, reflecting on the moment.
Recently, she’s been in the studio working on original music, the follow-up to her independently-released debut EP, 2020’s Riley. The sequel to songs such as the anthemic “Big Girl Energy” and the reflective ballad “A Moment” on Riley, this new project hones in on the singer’s R&B roots with sensual grooves such as the tentatively titled “All Night.” “You said I wasn’t shit, turns out that I’m the shit. Then you called me a bitch, turns out that I’m that bitch. You said no one would want me, well you should call your homies,” she sings on the tentatively titled “Lately,” a cut about reflecting on a past relationship. From the forthcoming project, xoNecole received five potential tracks. Fans likely already know the strengths and contours of Riley’s vocals, but these new songs are her strongest, most confident offerings as an artist.
“I am so much more comfortable as a writer, and I know who I am as an artist now. I’m evolving as a human being, in general, so I’m way more vulnerable in my music. I’m way more willing to talk about whatever is on my mind. I don’t stop myself from saying what it is I want to say,” she says.
Credit: Ally Green
“Every era and alliteration of Amber, the baseline is ‘Big Girl Energy.’ That’s the name of her company,” her manager Brooks says, referencing the imprint through which Riley releases her music after getting out of a label deal several years ago. “It’s just what she stands for. She’s not just talking about size, it’s in all things. Whether it’s putting your big girl pants on and having to face a boardroom full of executives or sell yourself in front of a casting agent. It’s her trying to achieve the things she wants to do in life.”
Riley says she has big dreams beyond releasing this new music, too. She’d love to star in a rom-com with Winston Duke. She hasn't starred in a biopic yet, but she’d revel in the opportunity to portray Rosetta Tharpe on screen. She’s determined that her previous setbacks won’t stop her from dreaming big.
“I think one of my superpowers is resilience because, at the end of the day, I’m going to kick, scream, cry, cuss, be mad and disappointed, but I’m going to get up and risk having to deal with it all again. It’s worth it for the happy moments,” she says.
If Riley seems more comfortable and confident professionally, it’s because of the work she’s been doing in her personal life.
She’d previously spoken to xoNecole about becoming engaged to a man she discovered in a post on the site, but she called things off last year. For Valentine’s Day, she revealed her new boyfriend publicly. “I decided to post him on Valentine’s Day, partially because I was in the dog house. I got in trouble with him,” she says, half-joking before turning serious. “The breakup was never going to stop me from finding love. Or at least trying. I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness, and you enjoy it and work through it.”
Credit: Ally Green
"I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness and you enjoy it and work through it.”
With her ex, Riley was pretty outspoken about her relationship, even appearing in content for Netflix with him. This time around is different. She’s not hiding her boyfriend of eight months, but she’s more protective of him, especially because he’s a father and isn’t interested in becoming a public figure.
She’s traveling more, too. It’s a deliberate effort on her part to enjoy her money and reject the trauma she’s developed after experiencing poverty in her childhood. “I live in constant fear of being broke. I don’t think you ever don’t remember that trauma or move past that. Now I travel and I’m like, listen, if it goes, it goes. I’m not saying [to] be reckless, but I deserve to enjoy my hard work.”
After everything she’s been through, she certainly deserves to finally let loose a bit. “I have to have a life to live,” she says. “I’ve got to have a life worth fighting for.”
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Janelle Monáe's Reveals The Real Reason Why She Stopped Wearing Her Signature Tuxedos
Singer and actress Janelle Monáe exemplifies how change can be a powerful catalyst for growth and transformation.
Monáe, who rose to fame in 2010 following the release of her debut album, The ArchAndroid, captivated fans' hearts with her powerful vocals, catchy tunes, and style. Around that time period, when various female artists were known to wear provocative ensembles on stage, the "Tightrope" songstress set herself apart by wearing her signature black and white suits and continued to do so for almost a decade.
In the later years of her career, after the release of her studio albums The Electric Lady in 2013 and 2018's Dirty Computer, many began to notice the shift in Monáe's artistry and fashion, which some widely praised.
Although the now 37-year-old rarely addressed the reason behind the transformation over the years, that would all change when Monáe sat down with radio personality Angie Martinez on her IRL podcast earlier this month.
During the interview, Monáe --who was promoting her latest album, "The Age of Pleasure"-- opened up about her mental health struggles, how she would cope, and why she chose to live in freedom.
Janelle On Why She Stopped Wearing Her Signature Suits All the Time
Photo by Frederick M. Brown/Getty Images
In the May discussion, the "I Like That" vocalist revealed she suffers from anxiety, which she claimed would occur around "winter to spring."
Monáe added that when she has her bouts with anxiety, she tends to turn to food as a coping mechanism. Further in the interview, the "Lipstick Lover" singer disclosed that her emotional eating habits caused a weight fluctuation and that she could no longer fit into the suits she once wore earlier in her career.
Monáe explained that even though she tried to diet and exercise to return to her smaller figure, she ultimately stopped and made peace with herself with the help of therapy because she acknowledged that she isn't the same person she was nearly a decade ago and shouldn't try to be even if it was a highly "celebrated" version.
"I'm petite, but it can get thick... When I couldn't fit them suits anymore, and I was like, 'Oh my God, what is going on?' I would be dieting, running, or exercising, trying to fit into [it]. I'm just like, 'No. No, we're here. This is where we are.' We [are] not about to be utilizing life trying to be an old version of ourselves. No matter how celebrated that version of me was. I'm here. I'm here," she said.
Janelle On Freedom
As the topic shifted to freedom and what that meant to Monáe, the "Primetime" vocalist shared that in this new era of her life, she enjoys it because she can boldly express herself however she wants and honor who she is as a person right now.
Monáe also revealed that she had found ways to become a better artist and the best version of herself because of her freedom.
"What is the new version of freedom? What does that feel like? That's usually when I feel the most free is when artistically, I can honor exactly who I am right now," she stated. "I feel most free as a human when I can honor exactly who I am right now."
Monáe's fourth studio album, The Age of Pleasure, is set to be released on June 9.
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