The final film by filmmaker Marlon Riggs jumps into the middle of explosive debates over Black identity. BLACK IS... BLACK AIN'T is a fi lm every African American should see, ponder and discuss. White Americans have always stereotyped African Americans. But the rigid definitions of "Blackness" that African Americans impose on each other, Riggs claims, have also been devastating. Is there an essential Black identity? Is there a litmus test defining the real Black man and true Black woman? Riggs uses his grandmother's gumbo as a metaphor for the rich diversity of Black identities. His camera traverses the country, bringing us face to face with Black folks young and old, rich and poor, rural and urban, gay and straight, grappling with the paradox of numerous, often contested definitions of "Blackness." Riggs mixes performances by choreographer Bill T. Jones and poet Essex Hemphill with commentary by noted cultural critics Angela Davis, bell hooks, Cornel West, Michele Wallace, Barbara Smith and Maulana Karenga to create a flavorful stew of personal testimony, music, and history.

The final film by filmmaker Marlon Riggs jumps into the middle of explosive debates over Black identity. BLACK IS... BLACK AIN'T is a fi lm every African American should see, ponder and discuss. White Americans have always stereotyped African Americans. But the rigid definitions of "Blackness" that African Americans impose on each other, Riggs claims, have also been devastating. Is there an essential Black identity? Is there a litmus test defining the real Black man and true Black woman? Riggs uses his grandmother's gumbo as a metaphor for the rich diversity of Black identities. His camera traverses the country, bringing us face to face with Black folks young and old, rich and poor, rural and urban, gay and straight, grappling with the paradox of numerous, often contested definitions of "Blackness." Riggs mixes performances by choreographer Bill T. Jones and poet Essex Hemphill with commentary by noted cultural critics Angela Davis, bell hooks, Cornel West, Michele Wallace, Barbara Smith and Maulana Karenga to create a flavorful stew of personal testimony, music, and history.

What does it mean to come from somewhere? This film focuses on California’s Native core.

“这是正手击球时握拍的方式。只需将手臂向后移动，左肩朝向球，左脚向前迈出，击球。”

“这是正手击球时握拍的方式。只需将手臂向后移动，左肩朝向球，左脚向前迈出，击球。”

1.KISS 　　2.男は兄女は妹 　　3.女になりたい 　　4.せつなくて 　　5.告白 　　6.悪魔のように 　　7.もう二人だけ 　　8.復讐 　　9.レイプ 　　10.結ばれた夜 　　11.さよなら

1.KISS 　　2.男は兄女は妹 　　3.女になりたい 　　4.せつなくて 　　5.告白 　　6.悪魔のように 　　7.もう二人だけ 　　8.復讐 　　9.レイプ 　　10.結ばれた夜 　　11.さよなら

电影改编自真人真事，Hans Jürgen Massaquoi 的童年在汉堡的亲身经历。Hans Jürgen（母亲，德国人、父亲，黑人）幼年、少年在第三帝国时期长大，当时纳粹对犹太人实行了种族灭绝，作为黑人的他也受到了种种歧视、限制。

在这个以“善解人意”为名的华丽牢笼中，她本应谨遵母亲教诲，成为他人眼中的温婉贤淑。然而，当亲人接连遇害，家族恩怨如潮水般涌来，她才明白，所谓的“善解人意”，不过是步步被逼的催命符。为报杀母之仇，她将仇人溺毙于池，手段狠辣；为祭奠亡母，她送外室母女一同前往黄泉，绝不留情；甚至面对祖母对父亲继室的急切，她以绝子药终结了老人的念想，目光决绝。她以为自己已是“善解人意”的典范，直到夫君带着外室母子逼她让位，质问她“断子绝孙”的罪名。那一刻，她明白了，真正的“善解人意”，是让所有试图摧毁她的人，都尝到他们亲手种下的恶果。在这场波诡云谲的权力斗争和生存游戏里，她将用另一种方式，“善解”这命运的安排。