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23.03.2024 - 15:19 / polygon.com
Look around on social media, and you’ll find a lot of wince-inducing responses to the title of Kobi Libii’s debut feature, The American Society of Magical Negroes, ranging from people offended that it exists to people expressing ghoulish delight that they have an excuse to use the word “Negro” in public. Libii’s film is a darkly comedic satire building off a common trope first popularized as a term by director Spike Lee in 2001 — the Black movie characters, particularly in ’90s movies, who only exist to support white characters and further their character arcs. In Libii’s story, that Black support network is a codified secret society of Black men and women with actual magical powers, which they use to comfort and aid white people so they’ll be less brittle, tense, and inherently dangerous to people of color.
The concept is confrontational, especially since the society firmly believes Black people should (in keeping with the trope) bury their own needs and desires in order to more effectively cater to white people. And the title is equally confrontational — by design. Critics and scholars writing about the trope often bowdlerize it to “magical Black character” or other softened versions of the term — even in the trailer, protagonist Aren (Dungeons & Dragons: Honor Among Thieves’ Justice Smith) awkwardly suggests that the society should find a more appropriate, modern name.
Libii told Polygon ahead of the film’s release that he felt it was important to name the most recognizable and direct version of the trope — and that the discomfort he’s seen around it from white people in particular might actually be instructive to them.
“For me, it’s partially about making the film recognizable as a response to the trope, as opposed to just a society of magical Black people that do an insane thing,” he said. “It’s downstream of this racist trope, not downstream of just me wanting to see Black people in this situation.”
Libii says that since the movie’s world premiere at the 2024 Sundance Film Festival, he’s seen a “very common white reaction to the title” that he finds intriguing.
“White audience members are saying, ‘Well, am I allowed to say it? How am I supposed to say it?’ and expressing their discomfort at navigating the title,” he says. “As a satirist, I’m very interested in that, because it’s a film about, among other things, that discrepancy between white and Black comfort. […] That real discomfort with their own discomfort — their immediate centering of their own white discomfort in this personal film about a Black experience — I find that knee-jerk response really interesting.”
Libii has seen people online worrying about how to ask for a ticket to the film at the box office, and he finds that particularly
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The American Society of Magical Negroes is an uncomfortable film for many reasons — most of them deliberate. The title spells this intention out plain as day. The film’s protagonist, a biracial Black sculptor named Aren (Dungeons & Dragons: Honor Among Thieves co-star Justice Smith), tiptoes through an art gallery — and his own life — as though he were perpetually walking across eggshells, consciously and unconsciously agonizing under the weight and expectations of the white gaze. Incapable of asserting the value of his work as an artist or his worth as a person — or simply unwilling to — he radiates an aura of discomfort that immediately draws the attention of Roger (David Alan Grier), a kindly older Black man who just so happens to be, you guessed it, a “Magical Negro.”
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