The Molasses Man & Other Delta Tales serves as an anthology of stories based off of Ahmad George’s life and experiences with people they’ve encountered here and not. These works feature scenes with existing and non-existing figures from folklore and mythology sourced from the American South, elsewhere, and created.
“Days” follows the everyday observations of the structures we interact with. The houses become more than just a residence, but become individuals themselves. The shadows start to blur the line of where the walls stop and where a presence might begin.
“But Then, Suddenly, I Was Looking From the Inside Out” is about “no compartments.” Everything is mashing together in life all the time — and while Lapossy longs for stability and order — it's all happening at once and they love how that feels — what that allows for. Not to be confused with multitasking, this is a kind of nurtured chaos.
The first film in Abbas Kiarostami’s sublime, interlacing trilogy of films set in the northern Iranian village of Koker takes a premise of fable-like simplicity — a boy searches for the home of his classmate whose school notebook he has accidentally taken — and transforms it into a miraculous, child’s-eye adventure of the everyday.
Lukah has set himself apart as a powerful voice in Memphis hip-hop. Whatever the format—whether it’s through sellout records, acclaimed locally in The Commercial Appeal and nationally in NPR, Bandcamp Daily, and The New York Times; commanding live performances that have won audiences in The United States and Europe; or on the big screen in his three visual collaborations with Studio 143, all selected by the Indie Memphis Film Festival—Lukah is a undeniable giant of deep, meaningful storytelling. Back from his first international headlining tour and a recent performance opening for Noname, Lukah continues to push the envelope and challenge himself creatively by preparing this bold concert.
