B.O.A. Cinema Club | April
APRIL CINEMA CLUB DROP.
New month, new movie. You know the drill.
After last month’s incredible screening turn out, we’ve decided not to fix what isn’t broken. Moving forward, our new standing time slot for Cinema Club is Friday afternoon in that last week of the month.
April’s screening will take place on Friday, April 25, at 12 PM EST, hosted by commercial photographer and entrepreneur, Max Hemphill.
Max is bringing us a powerful collection of films by Black filmmakers across genres and release dates. Be sure to RSVP for another fantastic film, discussion, and bonding!
Max curated four amazing films for the screening, and the community came together and selected “Borom Sarret” (1963) as this month's pick!
Check out the trailer and mark your calendars!
PS: I promise there will be no ads this time.
Check out the rest of this month's selections:
“Get Out” (Jordan Peele, 2017)
Jordan Peele’s breakout social thriller operates as a speculative nightmare: a sharp blend of horror and cultural critique. Through the lens of a sinister suburban experiment, the film confronts the commodification of Black bodies and consciousness, imagining a fractured future that eerily mirrors the present. Get Out exposes how power manipulates identity, memory, and agency—sounding the alarm for a new era of techno-paranoia and resistance.
“Borom Sarret” (Ousmane Sembène, 1963)
In this foundational short film, Sembène delivers a poetic and devastating portrait of postcolonial Dakar. Borom Sarret is a vision of everyday Black life burdened by historical rupture, systemic injustice, and the ghost of empire. As a cart-driver journeys through the city, each passenger becomes a testament to the disillusionment of independence and the slow violence of colonial residue.
“Black Girl” (Ousmane Sembène, 1966)
A haunting meditation on exile, identity, and erasure, Black Girl captures the void left in the wake of cultural dislocation. Through the story of a Senegalese woman employed as a domestic servant in France, Sembène constructs a portrait of existence caught between worlds. It is a quiet, surreal rebellion against the confines of Western narratives, asserting the psychic toll of dehumanization with quiet fury.
“Moonlight” (Barry Jenkins, 2016)
A lyrical coming-of-age film grounded in the present yet deeply attuned to ancestral echoes, Moonlight follows Chiron’s fragmented journey of self-discovery. Jenkins meditates on Black masculinity, queerness, and tenderness in contemporary America. With its dreamlike realism and temporal fluidity, the film becomes a mirror to the now—a soft, radical act of reclaiming interiority and emotional truth.