Netflix has come aboard to distribute See You Yesterday, a travel drama produced by Spike Lee’s 40 Acres and a Mule Filmworks. The pic is the directorial debut from Stefon Bristol, Lee’s long-time NYU Graduate Film School protege.
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From Birth of a Nation to BlacKkKlansman: Hollywood’s complex relationship with the KKK | The Guardian
Spike Lee’s latest film, about a black detective infiltrating the Klan, once again raises the issue of how seriously cinema should take the white supremacist group.
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With BlacKkKlansman, Spike Lee Sounds the Alarm About America’s Past and Present | The Atlantic
The director’s newest film follows a policeman who successfully infiltrated the KKK in the 1970s, but the story it tells is also very much about the U.S. today.
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How Spike Lee’s She’s Gotta Have It reboot takes aim at gentrified Brooklyn | The Guardian
Lee’s 10-part Netflix remix of his 1986 comedy takes place in a neighborhood that’s become overpriced for and underpopulated by a community squeezed out.
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The Culture Caught Up With Spike Lee — Now What? | The New York Times Magazine
After more than three decades as a provocateur, the filmmaker has returned to the movie that made him famous.
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Spike Lee discusses terrorism, race and his work at Virginia Film Festival | Richmond Times-Dispatch
“Terrorism is terrorism,” Lee said Saturday afternoon just prior to screening his 1997 documentary, “4 Little Girls,” for a standing-room-only audience at the Paramount Theater.
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The Samuel L. Jackson Method | The New York Times
He builds downtime into a schedule of near-constant work. Call his agent if you have a problem with that.
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Spike Lee: ‘Black men are still viewed as predators’ – The Guardian
Twenty-five years after the LA riots, Spike Lee has made a film about Rodney King, whose beating by the police triggered the uprising. Does he think things have improved in the US? ‘Race is always going to be an issue in this country’
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Do the right thing – how black cinema rose again
The late 80s and 90s heralded a breakthrough led by Spike Lee’s Do the Right Thing and John Singleton’s Boyz N the Hood. At first, Hollywood embraced this wave of talent, then it ignored it. Now, in the wake of #OscarsSoWhite, black films matter once more.
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