'The Brothers Size,' At The Geffen, Measures Up

By Darlene Donloe

In the fictional town of San Pere, Louisiana, two brothers, Ogun Size (the oldest) and Oshoosi Size are living life while trying to heal their relationship. 

While they are genetically related, they may not be cut from the same cloth. 

Ogun, the owner of an auto mechanic shop, and the more stable of the two, wants desperately for his brother, Oshoosi, who recently got out of prison, to get his life together – starting with getting a job.  

Oshoosi, who has been staying with his brother – but not contributing to the household, wants to hold off on getting a job for a while, so he can enjoy his carefree life.   

Things take a turn when Elegba, who was in prison with Oshoosi, comes for a visit.  Ogun (Sheaun McKinney) doesn’t believe Elegba is a good influence on his brother – but he gives him the benefit of the doubt.  

(L-R) Sheaun McKinney, Alani iLongwe, and Malcolm Mays

The brothers’ relationship is tested when Elegba (Malcolm Mays) tempts Oshoosi (Alani iLongwe) back to his old habits. 

Elegba, who is clearly up to no good, hints at romantic feelings for Oshoosi that the playwright doesn’t give much mileage throughout the show – opting to lean more toward a masculine examination.  

As the brothers grapple with loyalty, freedom, and responsibility, their humanity is revealed through a raw and heartfelt exploration of the bonds of brotherhood. 

The revival of ‘The Brothers Size,’ written by Geffen Playhouse Artistic Director Tarell Alvin McCraney, is currently playing at The Geffen Playhouse through September 8, 2024. 

(L-R) Alani iLongwe and Sheaun McKinney

The play is part of McCraney’s  acclaimed trilogy “The Brother/Sister Plays,” which includes “In the Red and Brown Water,” and “Marcus: or the Secret of Sweet.” 

It’s essentially a brotherly love story that touches on the angst of Black masculinity and the fragility of living while Black in a white supremacy world that doesn’t place much value on Black life.  

Oscar-winning screenwriter McCraney (Moonlight) is having quite the year. He’s kicking off his inaugural season helming the Geffen and his acclaimed play, ‘The Brothers Size,’ is celebrating its 20th anniversary in the Playhouse’s Audrey Skirball Kenis Theater. 

After two decades, this show is just as potent, volatile, and relevant as it was when it was first introduced.

(L-R) Malcolm Mays and Sheaun McKinney

The 90-minute, one-act play draws from the rich tradition of the Yoruba people of West Africa. The names of the characters are taken from Yoruba mythology. Ogun is a warrior associated with metalwork; Oshoosi is named after a wandering spirit renowned for hunting as well as contemplation and artistic pleasure, and Elegba implies the trickster.  The Yoruba are a diverse group of tribes that share a common language and culture and make up about 20% of Nigeria’s population. 

McCraney’s dialogue has a natural rhythm and is poignant, humorous, in-your-face, and authentic. 

The banter between the brothers is crisp and fast. 

The chemistry between the brothers, and their easy familial conversation is what drives the show.  

McCraney’s decision to have the characters speak the directions, i.e., the character Ogun saying, ‘Ogun gets under the car,’ just before Ogun gets under the car, is both histrionic, hilarious, and adds a great deal of texture. 

Stan Mathabane

The production, sans a set, save for a musician upstage center, keeps a fast pace – thanks to Director Bijan Sheibani, who effectively moves the three characters around the circular stage.  Instead, the black stage is designated by a circle of white powder. With no furniture on the stage, the actors can fully engulf the space – which works tremendously.  Even without props, walls, and furniture – the dialogue, direction, and acting bring it all to a visual elegance within everyone’s pure imagination. The intimate setting makes for a powerful production with the actors only an arm’s length away.

Sheibani gets stellar performances from iLongwe, Mays, and McKinney. 

iLongwe is tasked with the heavy lifting emotionally. His emotions drift between happiness, sadness, fear, doubt, anxiety, excitement, confusion, elation, and more. It’s a tour-de-force performance. 

McKinney, who appeared in the show before The Geffen production, delivers a solid, sometimes comical, performance, as does Mays.   

All three actors are worthy opponents.  

The sequence where they dance and sing, similar to fraternity brothers steppin’, is brilliant.  The second dance number, which includes just the brothers singing and dancing to Otis Redding’s “Try A Little Tenderness” – is exceptional and displays the one-time youthful joy of the brothers. 

Their joy is quickly squashed. The end of the show is incredibly emotional – but is a gut-wrenching display of brotherly love. 

Don’t sleep on this show. The music, acting, direction, and writing are firing on all cylinders! 

Juel D. Lane’s choreography is so fierce, it’s like a fourth character.  

Tarell Alvin McCraney

‘The Brothers Size,’ directed by Bijan Sheibani, and written by Tarell Alvin McCraney, stars Alani iLongwe, Malcolm Mays, and Sheaun McKinney. Stan Mathabane - bass flute, drone flute, talking drum, Djembe, Dununba, Sangban, bell, Skekere, tenor sax, and bar chimes. ‘The Brothers Size’ is a Co-Production with New York’s The Shed. 

Kudos to Suzu Sakai (scenic designer), Dede Ayita (costume designer), Adam Honore (lighting designer), Stan Mathabane (sound designer and composer), and Juel D. Lane (choreographer).

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), ‘The Brothers Size’ gets an E (excellent).

Running time: 90 minutes. No intermission. 

‘The Brothers Size,’ Audrey Skirball Kenis Theater at Geffen Playhouse, 10886 Le Conte Ave, Los Angeles, CA; 8 p.m. Wed.-Fri., 3 and 8 p.m. Saturdays, 2 and 7 p.m. Sundays, through Sept. 8; $45-$129; 310 208-2028 or www.geffenplayhouse.org.

Smooth Summer Jazz Brings The Heat X 3

By Darlene Donloe

The Smooth Summer Jazz concert at the Hollywood Bowl on Sunday, Aug. 18, did not disappoint.

The three artists on the lineup, Lizz Wright, George Benson, and Gregory Porter each caused the already smoldering Los Angeles temperature to soar to an even more feverish hotness. 

Wright, Benson, and Porter each brought their own brand of jazziness to the Bowl with individualistic skills that made each one of their sets an actual separate concert unto itself.

Lizz Wright

Lizz Wright kicked it off with a set showcasing her not-of-this-world voice's fullness.  She is, by far, an exceptional talent.  Her deep, guttural vocals seem effortless. The purity with which she sings is mesmerizing. If you think her CD is crazy good, seeing her live is on a whole other level. It’s divine. Without question, Wright is one of the greatest singers in the business with her smooth, luscious, and yes, sexy alto.

With her five-piece band, a piano, bass, two guitars, and drums, Wright, who donned a long, flowing black dress, was a magical songstress who held the behemoth Hollywood Bowl crowd in the palm of her hand during her 45-minute set.

The Georgia native, who used to be the musical director of a small church where her father was the pastor, started off with “Sweet Feeling,” then “Sparrow,” a song on her latest album called ‘Shadow.’ Her version of “Old Man” was magnificent, as was “This Way” followed by ‘Your Love’ and “Salt.”

Wright, who made her way to the piano, continued her set with the sultry, “Who Knows Where The Time Goes.”

The sensational Wright, whose memorable performance left the crowd wanting more. She could have sung all night and it would have been All-Wright!

George Benson

Next up was the incomparable George Benson who brought the nostalgia in his 75 minutes with hits from the 70s and 80s. 

Known for hits like “Turn Your Love Around,” “On Broadway,” “Give Me The Night,” and more, Benson is still the consummate showman.

Benson, who opened his set in a black shirt and pants, coupled with a white jacket, was joined on a couple of songs by legendary flutist Hubert Laws.

With a musical canon flush with hits, Benson started off with his classic, Breezin’ and it was off to the races from there. 

Accompanied by the Hollywood Bowl Orchestra, he breezed (pun intended) through some of his hits including “Unforgettable” “At Last,” “Smile,” “One Goodbye,” “Love X Love” and “Feel Like Makin’ Love” and “A Song For You.” 

He went on to wow with “Love Ballad” and “Moody’s Mood For Love.”

Still a beast on the jazz guitar, Benson left the stage briefly to allow his percussionist, Lilliana de los Reyes, to righteously sing Chaka Khan’s “Ain’t Nobody.”

When he returned in a blue velvety jacket, the second part of his set kicked off with “Turn Your Love Around.”

Benson, whose songs are known for having good hooks and lyrics, told how he became a millionaire two weeks after the release of his megahit, “This Masquerade.” 

“Give Me The Night” closed out Benson’s set, which was just the right ending.

Gregory Porter

There is no denying the musical prowess of Gregory Porter, the two-time Grammy winner, with the buttery voice. When he sings, he gives a masterclass.

Porter is a brilliant talent. There is a warmth to his music that is soothing. He is one of the most soulful jazz singers in the industry.

Donned in an all-white suit, Porter, accompanied by a five-piece band – piano, upright bass, saxophone, drum, and organ, has a unique and powerful voice that draws you in. He doesn’t move around the stage very much. It’s usually him, his mic, and his band. He’s excellent at telling relatable stories through each song – most of which are uplifting. 

While his 60-minute set was wayyyyy too short, he did sing “Holding On,” “If Love is Overrated,” “On My Way to Harlem,” a crowd favorite, “Take Me To The Alley,” “Insanity,” “Liquid Spirit,” and “Musical Genocide.”

There is always room for more, and then more of Gregory Porter.

Three distinct talents brought the heat to the Smooth Summer Jazz 2024 mini-festival - making it an exceptional experience! 

Geneva Renee's New Single Is "Your Tender Kiss"

 

 

 

SILVER SPRING, MD (16 AUGUST 2024): Summer love never sounded more sensual than Geneva Renée’s new single heating up playlists nationwide. The soul-jazz singer-songwriter wrote the Red Mile Music single with David P. Stevens who produced the song featuring saxophonist Marqueal Jordan.

 

“Your Tender Kiss” was conceived after a sit down in Stevens’ Los Angeles studio. The organic connection between Renée and her producer inspired Stevens to compose the initial track.

 

“When Geneva came to the studio that day, her conversation and total vibe gave me an indescribable feeling. The song came to me after that conversation. As she and I began to collaborate, this sensual but tender masterpiece was born. I believe the song resonates with people because of the passionate place it was born from,” said Stevens, who has architected multiple Billboard Top Ten singles as a writer, producer, and artist.

 

The next day, Renée returned to the studio, excited to enter the vocal booth to croon the sultry tune set to an R&B groove with a sophisticated adult contemporary meets cool jazz nuance.

 

"I was instantly captivated by the intoxicating melody and ambiance, reminiscent of the Sade era that I missed so much. While we were in the studio, David encouraged me to channel my emotions by thinking of that one special guy—the one who never said, 'I love you,' but his kiss spoke volumes. When I was alone, I’d always wonder how this man felt about me; but every moment we spent together, my body would instantly respond to his touch, and I knew that our chemistry ran deeper than three words could ever express. In those moments, I was convinced our love was real,” said the Washington, DC-based Renée, a mezzo-soprano blessed with a three-octave voice.

 

Instead of writing a vocal bridge to the song, Stevens suggested bringing in Jordan for a saxophone solo.

 

“Once I heard ‘Your Tender Kiss,’ I was immediately taken to that place of high desire and tension when you are feeling someone, the chemistry and attraction are mutual, and you cannot wait to kiss them. Geneva's performance takes you there. She has a phenomenal tone that emotes sensuality and she gives everything to a song. I wanted to bring my emotional intensity to the song in a supportive way,” said Jordan, who launched his solo recording career after a lengthy tenure flanking superstar R&B/jazz instrumentalist Brian Culbertson.

 

Renée, Stevens, and Jordan teamed up to lens a romantic video for “Your Tender Kiss,” which can be viewed below.

 

“For the video, I envisioned a relatable scene for most busy women. You arrive home after work to relax with soothing music creating the atmosphere. The romantic twist was adding a handsome love interest to surprise me with a bubble bath and sparkling wine. As I dip into the steamy water, take a sip of the rosé, and close my eyes, I’m transported by the sexy saxophone solo as the perfect finishing touch to a tender night of passion,” Renée describes.

 

A native of Oxnard, California, Renée attended Howard University where she earned a master’s degree and a doctorate. Elements of classical, jazz, soul, gospel, and pop inform her recordings. Noted R&B producer Dinky Bingham (Patti Labelle, Lionel Richie, New Edition) produced her 2012 debut album, “Beautiful Wonder,” which was led by the empowering single “She Presses On.” Bingham also produced her sophomore release, “Brand New Day,” a 2021 EP. She has shared the stage with Beyonce, Mariah Carey, Shakira, Diana Ross, Maysa Leak, and Vanessa Williams, and has performed at internationally televised events honoring Presidents Barack Obama and Bill Clinton. Renée has graced such prestigious and diverse venues as the Kennedy Center, Rehoboth Beach Jazz Festival, Blues Alley, The Birchmere, and UniverSoul Circus.     

 

For more information, visit https://www.genevarenee.com.

 

Seal WOWs The Crowd At The Hollywood Bowl

 

By Darlene Donloe

There is no denying the star power of Seal.

He held the crowd at The Hollywood Bowl in the palm of his hand during his recent stop at the iconic venue – part of his 2024 World Tour.

His imposing presence on stage coupled with his smooth, delicious vocals makes for a pleasing evening of music.

His rich voice is like no other in the music business. After three decades in the industry, his voice still seduces the audience effortlessly, engulfing even the massive outdoor setting.

Accompanied by a three-piece band that included drums (Drew McKeon), guitar (Zach Wish), and a keyboard (Jamie Muhoberac), Seal, dressed in white pants, a silvery shirt, and a gray sports coat that he eventually shed, kicked off his set by taking the audience on a journey through both his classic hits and his new songs. He sang songs from his Seal 1 and Seal 11 albums.

The sexy 61-year-old took the stage with a hearty, “What’s up hometown,” before warning that he couldn’t do his usual lengthy banter due to the venue’s 10:30 p.m. curfew.

The pop icon then started his 90-minute set with a song called, ‘Aikin (All I Know is Now).’

He also beguiled the audience with several personal, sometimes comical stories as he worked his way through his repertoire including “The Beginning,” “Deep Water,” and “Future Love Paradise.”

He then told the mature audience that six years ago, he thought “texting was the anti-Christ.”

“I wrote a song about it,” he said.

The song is “I’ve Been Thinking.”

“I’ve been thinking just one call is all it takes,” he said. “World, how are you doing?”

Seal then promptly jumped off the stage and into the crowd – as his fans screamed and applauded in approval.  He shook hands, slow danced with one lucky fan, and high-fived others before leaping onto a platform in the middle of the Bowl to finish singing a song.

To bond with his audience, which he’s been known to do throughout his career, Seal spoke of the time he had a car crash, got double pneumonia, and stood next to someone who got shot on Sunset Boulevard.

“I was living a reckless life,” he told his fans before sharing that was the impetus for him to write the song, “Prayer For The Dying.”

While he admitted to no longer living a reckless life, he did admit to recently being diagnosed with ADHD. He called it a “Superpower that makes you hypersensitive and, at times, too receptive to everything going on.”

“I’m the patron saint of returns – regarding Amazon,” he quipped. “ I have piles of stuff around the house – like books I won’t read and guitar amps.”

He then launched into several songs including “A Little Lie,” “Killer,” and a new song he wrote called “The Love We Give,” which is his view on the social climate.

As he began explaining the meaning of the song, he stopped mid-sentence to say he hated explaining his songs.

Other songs on his hit parade included “Bring It On” and the brilliant “Kiss From A Rose.” 

As 10:30 p.m. approached, Seal told the audience that he had been granted an extra five minutes and that he would sing a song that starts with a “C!” 

The crowd roared.

The sex–walking singer knew he couldn’t get out of the Bowl without singing “Crazy,” which the crowd helped him sing word-for-word.

He didn’t want to end the concert with a “sad ballad” or a “bad salad,” so he chose “Get It Together” as his finale. The song's lyrics say, "We got to keep this world together, got to keep it moving straight. Love like we mean forever so that people can relate."

A true showman, Seal then reminded the crowd it was now 10:38 p.m. and said, “Goodnight.”

 

 

'Duel Reality' Opens at The Ahmanson in September

Los Angeles CA (August 8, 2024) – Duel Reality from The 7 Fingers, also known as Les 7 doigts de la main, making their Center Theatre Group debut, features their signature electrifying and endearing mix of circus, theatre, illusion, music, and dance. 

The circus troupe's latest piece is an acrobatic, dynamic tour-de-force for all ages inspired by the star-crossed tale of Romeo and Juliet performed for a limited 15-performance engagement from Thursday, September 12 to Sunday, September 22, 2024. Tickets and information are available at CenterTheatreGroup.org.

Duel Reality asks the audience to imagine a world where star-crossed lovers are circus stars, and their love story unfolds through graceful and death-defying acrobatics. In an epic, cirque-infused performance that dazzles the senses and stirs the heart, the two feuding families engage in a battle of skill, each competition more daring than the last – while the pair of star-crossed lovers struggles to escape the showdown. They are fierce players, but do they care who wins or loses if playing the game can bring them closer together?

With direction by Shana Carroll, co-founding artistic director of The 7 Fingers and co-designer of the first segment of the Sochi Winter Olympics Opening Ceremony, Duel Reality delivers a thrilling adventure for all ages with romance, integrity -- and deceit -- through death-defying acrobatics.  The audience chooses a side and lives through the battle of these two feuding families in this one-act extravaganza. The show received a Seoul Arts Award in 2023.

Duel Reality then is an elaborate and fast-paced mashup of Shakespeare's most famous love story and the intense world of competitive team sports. Exhilaration and danger provide a thrilling backdrop to The 7 Fingers' one-of-a-kind daredevil theatrical extravaganza. Duel Reality was originally produced and created with Virgin Voyages, produced by The 7 Fingers with commissioning partner ArtsEmerson (Boston).  

The 7 Fingers are represented on Broadway right now with The New York Times Critics' Pick Water for Elephants and are renowned for their Tony Award-winning work on the 2013 revival of Pippin. 

Elodie Marriott of the Edinburgh Festival Magazine wrote, “Round after round, the opposing sides exhibit their abilities with hula hoops and diabolos, showcasing their incredible strength and balance. The stakes are high, with the cast climbing eye-wateringly tall poles and pausing for applause, before dropping swiftly headfirst, coming to an abrupt stop less than an inch away from the floor. Duel Reality is a spectacle that will truly astonish all who experience it.”  

Jasmine Arden-Brown wrote in BroadwayBaby.com, “what sets it apart is the company’s mesmerizing use of big emotions to tell the basics of a story … [and] It holds all the electricity of a big sporting match where the passions run high. The soundtrack is exhilarating, the performers are charismatic, and the stunts had my hands rushing to cover my mouth every minute or so.”   

Carla Rick in The Berkeley Beacon wrote, “Audiences can expect neon hues with a variety of music and performance styles—a hula-hoop stunt done to jazz, a sultry dance with slow, romantic music, a seesaw duel set to an intense score … this acrobatics show is not to be missed. Trust in the 7 Fingers to shock and awe you while simultaneously taking you on an unforgettable emotional journey.” 

The Edinburgh One4review wrote “***** Never was a story of more ‘wow’ than of Juliet and her Romeo. Duel Reality is a striking portrayal of hope. As performers shed their divisive colors, they unite, reminding us that we are all the same underneath. The finale is a poignant reminder that we are more than what divides us.”  

The cast includes Daniela Corradi, Adam Fullick, Gerardo Gutiérrez, Michelle Hernandez, Marco Ingaramo, Miliève Modin-Brisebois, Einar Kling Odencrants, Anton Erik Persson, Santiago Rivera, Ashleigh Roper, and Arata Urawa. 

The production features music directed and composed by Colin Gagné with excerpts from Sergei Prokofiev's Dance of the Knights, and lyrics from William Shakespeare's Romeo and Juliet. 

The production also features lighting design by Alexander Nichols, costume design by Camille Thibault-Bédard, with production direction by Maude St-Pierre. With technical work by Simon Carrière and Audrey Belzile with acrobatic coaching from Francisco Cruz. 

Tickets for DUEL REALITY are available through CenterTheatreGroup.org, Audience Services at (213) 972-4400, or in person at the Center Theatre Group Box Offices (at the Ahmanson Theatre) at The Music Center, 135 N. Grand Avenue in Downtown L.A. 90012. 

### 

The 7 Fingers is an arts collective unlike any other. In 2002, the 7 founders set out to redefine circus by stripping down the spectacle to its thrilling essence.  

The 7 Fingers tell stories using death-defying acrobatics with a life-affirming theatricality. Since its inception, the company has expanded from its own signature touring shows to creating theatrical experiences as diverse as the very artistic directors themselves: original productions varying from intimate one-man shows to large-scale arena performances; Broadway musicals; artistic collaborations with renowned international artists and companies; production design and direction; special events; Olympic ceremonies; televised performances; fashion, art, and music events; immersive experiences; and much more. Every one of these projects carries The 7 Fingers’ unequivocal mark. The company has consistently spread its horizons by mixing genres and exploring new ways to tell stories. Fascinated by the human condition, The 7 Fingers create performances that celebrate our world, our time, and e, and our humanity. Their shows tour the globe and bring audiences to their feet wherever they go.

Every one of these projects carries The 7 Fingers’ unequivocal mark. The company has consistently spread its horizons by mixing genres and exploring new ways to tell stories. Fascinated by the human condition, The 7 Fingers create performances that celebrate our world, our time, and our humanity. Their shows tour the globe and bring audiences to their feet wherever they go.  

In 2018, The 7 Fingers opened their very own Centre of Creation and Production. Situated in the heart of Montreal’s downtown theater district, the new center houses all of the company’s activities, departments, and dreams under one roof.  

Center Theatre Group, one of the nation’s preeminent arts and cultural organizations, is Los Angeles’ leading not-for-profit theatre company, which, under the leadership of Artistic Director Snehal Desai, Managing Director / CEO Meghan Pressman, and Producing Director Douglas C. Baker, programs the Mark Taper Forum and the Ahmanson Theatre at The Music Center in Downtown Los Angeles, and the Kirk Douglas Theatre in Culver City. Center Theatre Group is one of the country’s leading producers of ambitious new works through commissions and world premiere productions and a leader in interactive community engagement and education programs that reach across generations, demographics, and circumstances to serve Los Angeles. Founded in 1967,  Center Theatre Group has produced more than 700 productions across its three stages, including such iconic shows as “Zoot Suit;” “Angels in America;” “The Kentucky Cycle;” “Biloxi Blues;” “Twilight: Los Angeles, 1992;” “Children of a Lesser God;” “Curtains;” “The Drowsy Chaperone;” “9 to 5: The Musical;” and “Bengal Tiger at the Baghdad Zoo.” CenterTheatreGroup.org 

Calendar Listing For DUEL REALITY 

 

Venue:            Ahmanson Theatre, 135 North Grand Avenue, Los Angeles CA 90012 

Dates:             Wednesday, September 11 to Sunday, September 22, 2024 

Schedule:      Tuesday through Friday evenings at 8:00 p.m.;  

                        Saturdays at 2:00 p.m. and 8:00 p.m.

                        Sundays at 1:00 p.m. and 6:30 p.m 

           

Tickets:          Prices — begin at $25 

                        Website — CenterTheatreGroup.org 

                        Phone — Audience Services at (213) 628-2772  

                        In-person — Center Theatre Group Box Office (at the Ahmanson Theatre)    

                        at The Music Center, 135 N. Grand Avenue in Downtown L.A. 90012 

                        Groups —centertheatregroup.org/tickets/groups-and-corporate-offers 

 

Access:         Center Theatre Group offers many services to accommodate persons requiring mobility, vision, and hearing access.  For more information, please visit CenterTheatreGroup.org/Access.  

 

Submission Deadline for 2025 Pan African Film & Arts Festival Is Soon

  

LOS ANGELES, CA - The countdown has begun for the highly anticipated 2025 Pan African Film & Arts Festival (PAFF), and filmmakers from around the world are reminded that the submission deadline is rapidly approaching. This year’s submission schedule will close earlier than in years past. The final date for regular submissions is July 31, 2024. The final deadline for all late submissions is August 30, 2024. All films must be received by the late submissions deadline to be considered. Filmmakers accepted will be notified in December 2024. More details can be found online at paff.org.

The Pan African Film & Arts Festival, one of the largest and most prestigious celebrations of Black cinema and art, is set to take place from February 4 to February 17, 2025, in Los Angeles, California. This annual event showcases a wide array of films, from feature-length narratives and documentaries to short films, representing the richness and diversity of the Pan-African experience.

Celebrating Excellence in Film and Art

Since its inception, PAFF has been dedicated to promoting cultural understanding and artistic excellence. The festival serves as a platform for filmmakers and artists of African descent to share their stories, perspectives, and artistic visions with a global audience. Each year, PAFF attracts thousands of attendees, including industry professionals, critics, and film enthusiasts, making it a crucial event for networking and exposure.

Submission Categories

PAFF 2025 welcomes submissions in the following categories:

Feature Films

Short Films

Documentaries

Animated Films

Web Series

And more

How to Submit

Submissions can be made through the PAFF website at paff.org. Detailed guidelines and requirements for each category are available online. Filmmakers are urged to submit their entries early to avoid any last-minute technical difficulties.

Why Participate in PAFF?

Participating in the Pan African Film & Arts Festival offers numerous benefits, including:

Exposure: Gain international recognition and showcase your work to a diverse audience.

Networking: Connect with industry professionals, fellow artists, and potential collaborators.

Awards: Compete for prestigious awards in various categories, including short film Academy Award eligibility, enhancing your profile and career opportunities.

Cultural Impact: Contribute to the representation and celebration of Pan-African culture and heritage.

Join Us in Celebrating Pan-African Art and Culture

As the deadline approaches, PAFF encourages all talented filmmakers to seize this opportunity to be part of a globally recognized festival that celebrates the beauty, complexity, and diversity of Pan-African experiences.

PAFF 2024, which took place February 6-19, featured over 200 films from 54 countries, in 28 languages, including 68 World and 25 North American premieres. Of the films selected for the Festival, 49% were helmed by female, queer or non-binary filmmakers.

For more information on submissions, festival events, and sponsorship opportunities, please visit paff.org or contact the PAFF team at info@paff.org.

About the Pan African Film & Arts Festival

For over three decades, PAFF has presented and showcased a broad spectrum of Black creative works, particularly those that reinforce positive images and help to destroy negative stereotypes of Africans and African Americans. PAFF is a non-profit 501(c)(3) organization that has remained dedicated to the promotion of Black stories and images through the exhibition of film, visual art, and other creative expression. Today, PAFF is one of the largest and most prestigious Black film festivals in the U.S. and attracts local, national, and international audiences. In addition, it is an Oscar-qualifying festival for animation and live-action films, and one of the largest Black History Month events in America.

PAFF is sponsored in part by Los Angeles Councilmember Marqueece Harris-Dawson, Los Angeles Councilmember Curren Price, Los Angeles Councilmember Heather Hutt, LA County Department of Arts and Culture, the LA County COVID-19 Arts Relief Fund administered by the LA County Department of Arts and Culture, Senator Steve Bradford, and Senator Lola Smallwood-Cuevas.

For more updates on the 2025 Pan African Film & Arts Festival, follow @PAFFNow on Twitter, Instagram, Facebook, TikTok, and YouTube, or visit paff.org and sign up for the PAFF newsletter.

Patrick Bradley Is Filled With "Gratitude"

VISTA, CA (22 JULY 2024): Although already a deeply devout man, a life-threatening illness became a literal “come to Jesus” moment for Billboard chart-topping contemporary jazz keyboardist Patrick Bradley. The immense sense of gratitude and awe that he feels since overcoming the gravely ill month that saw him hospitalized twice informs the ten songs that he wrote for his sixth album, “Gratitude,” which drops September 20 on the Patrick’s Song Factory label. Multi-time Grammy-nominated producer Darren Rahn produced the collection and co-wrote seven songs with Bradley.   

Before being stricken by the undiagnosed illness, Bradley had been on a high since his last album, “Exhale,” was released in 2021. The title track shot to No. 1 on the Billboard chart. A second single, “Completely Yours,” went top 10, and two other singles (“Song of May” and “Reinvention”) reached the top 20. That same year, the sickness that the doctors deemed Bradley at “substantial risk for morbidity” sparked a crisis of faith. His liver, pancreas, and kidneys were under attack, causing intense and debilitating headaches. Bradley did some soul-searching at the height of his illness. 

“At that time, I had been a Christian for some 38 years, and yet there was that pinging concern if my heart was fully with the Lord. Was I just living for myself or really living for the Lord? Was I taking the Lord seriously enough or was I just living an easy cheap grace sort of life? Easy believe-ism if you will,” shared Bradley.

Feelings of repentance filled Bradley, lighting his path to healing.

“I began to weep uncontrollably. An intense sense of repentance and humbling came over me. At that moment, my headaches stopped, and I began to recover. That moment changed me forever, and I continue to be blown away by my loving, gracious, and Holy God. My hope through this music I wrote and recorded for ‘Gratitude’ is to glorify the Lord and lift up and bless those who hear it,” said Bradley who will preview the album with a performance at Spaghettini South of Los Angeles on Sunday (July 28).

Not just transformed spiritually, Bradley exhibits some stylistic changes in “Gratitude.” His previous sets were more fusion-focused and displayed him primarily playing synth and organ along with some piano. The new project is distinctly more contemporary jazz-based and spotlights Bradley’s piano play, a switch underscored by the album’s cover art showing Bradley standing next to a piano. Instead of spacy and explorative jazz fusion forays, the ten songs on “Gratitude” feel more present, and focused and are brimful of joyous energy.

The album opens with the graceful and poetic “Narrow Path,” on which Bradley and Rahn (synths, tenor sax, synth bass, and drum programming) are joined by guitarist Allen Hinds. The rhythm section swells to include two-time Grammy-winning bassist Mel Brown, drummer Tarell Martin, and percussionist Christian Teele on the groovy, retro “Nothin’ Ain’t,” which features Rahn, a 29-time Billboard No. 1 hitmaker, ripping a fat sax solo mid-tune embellished by Bradley’s roof-raising organ blasts.

Earlier this year, Bradley offered a glimpse of “Gratitude” when he released “Road Trippin’” as a single.

“The inspiration of the song is really celebrating the freedom and the joys of a road trip. Ever since my wife, Lisa, and I purchased a fifth wheel a couple of years ago, we’ve been enjoying the outdoors. We’re grateful to have the opportunity at this time in our lives when we have both the freedom and the means available to get out there. For us, it’s about exploring new destinations and visiting cherished places while enjoying the beauty of God’s creation,” said Bradley who lives in San Diego County.

The tone and tempo become more reflective of the album’s title track and forthcoming second single. Rahn, who like Bradley is a man of faith, delivers an impassioned and compassionate sax sermon on “Gratitude,” which will begin collecting playlist adds on September 30.

Bradley revisits his fusion muse on “Transformation,” on which he plays his trademark piano, synth and organ combo. Guitarist Randy Jacobs adds slick funk riffs to the reassuring affirmation that is “Abide In Me.” “The Calling” has cosmic elements created by Bradley’s four-prong keyboard palette (piano, Rhodes, synth and organ) and Dave Beegle’s acoustic and electric guitars. Bradley pays homage on the empowering rock fusion anthem “Luminaries.”

“As the world grows darker and colder, the need for salt, light and truth grows exponentially. Jesus said His disciples are the salt and light of the world,” said Bradley who freely quotes scripture in conversation, especially when citing his creative inspiration.

Beegle features on “There Is No Other,” which Bradley recalls was seeded forty years ago when reading the book of Isaiah 43:10.

“From that point on, my life was changed, and I began to follow Christ. I understand now that was a sovereign act of God’s grace in my life. I am continually humbled and am still completely blown away by Him,” Bradley admitted.

The album closes with “Celebration,” a festive contemporary jazz romp spiced with saucy Latin jazz nuances.

Bradley debuted in 2007 with the “Come Rain or Shine” album, which featured six-time Grammy-nominated saxophonist Eric Marienthal. The title track became the keyboardist’s first Billboard top 30 single. Four years later, Bradley returned with “Under The Sun,” which was produced by Grammy-winning fusion pioneer Jeff Lorber and included Marienthal’s shining sax and a highlight performance from trumpet and flugelhorn star Rick Braun. Lorber returned to helm “Can You Hear Me” in 2014, an outing that saw Bradley’s impressive list of collaborators add Jimmy Haslip (Yellowjackets, Steely Dan), Gary Novak (Chick Corea, Lee Ritenour), David Mann (Sting, James Taylor, Billy Joel) and Michael Thompson (Bob James, Michael Jackson, Celine Dion). Multiple Grammy-nominated headliner, Dave Koz played an emotional soprano sax solo on the title cut, which is nearing ten million streams. Haslip, Novak, Mann, and Thompson linked up with Bradley and Lorber again on 2017’s “Intangible.” The album notched two Billboard top 10 singles: “Dear Friend” and “Tailwind” featuring guitar ace Paul Jackson Jr. (Michael Jackson, Daft Punk). 

For more information, visit https://patrickbradley.com.