A CIA created serum gets into the hands of the Klan, which leads to one of the most unconventional heroes ever to emerge
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Producer/s : Francesca Zappetilli,
Director/s : Wayne Williams,
Writer/s : Michael Anthony Scott,
Actor/s : Michael Anthony Scott, Bruce Clifford
Robe 'n Hood
SuperKlanMan’s set up is that in the 1960s the CIA experimented with all sorts of drugs, for purposes of warfare and control, and to turn black radicals into safe “houseboys”. It’s the conspiracy theory that the rise of drug addiction in black communities is a plot to keep them downtrodden.
The film says that some of these substances are still being made… and one of these drugs has developed a side-effect. It creates the superpower of being able to transform gangsters into dancers, and sexist racists into conscientious right-on liberals. The costume our superhero chooses for his character is the white robe and hood of the KKK. And now he’s going to take the battle into the heart of the Klan itself. Told you it was weird.
I’m not black, so I may not be the target demographic. But then, I’m not sure this film has one, or even needs one. Director Wayne Williams admits – or boasts – that he wants to create an abstract look that moves us to think in new ways. Maybe I’m exactly the target audience.
“Abstract” is an understatement… this is surreal, as if influenced by some of the drugs it refers to.
Maybe it’s a generational thing, that now, black filmmakers can revisit black history as tragedy or as pained satire. Or, if they want, they can turn it into a surreal genre-bender, and thereby subvert it all. SuperKlanMan does a bit of everything. It’s Blackklansman meets Black Panther, meets Monty Python.