Charles Burnett
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Connections, in both directions
Mike, in a possible homage to black filmmaker Charles Burnett’s brilliant film Killer of Sheep , is forced to stun sheep using a bolt gun while his uncle informs him that he has to learn to wield the weapon or else it will be wielded against him.
That's not to say the scares aren't fun, because they are: Pennywise the evil shape-shifting clown basically has Freddy Krueger-like powers to shape reality into nightmares, a connection you'd fully expect the kids to make sooner given that A Nightmare on Elm Street 5 is actually playing at their local movie theater ('80s references replace the '50s touchstones from the novel, given how long it's been, though they can't beat the even more subtle nods to cinematic cult classics like Killer of Sheep and The Wicker Man ).
Directing, screenwriting, acting, cinematography and music combine superbly in the movie, which is based on a play by Tarell Alvin McCraney and has been compared to Richard Linklater’s “Boyhood” and Charles Burnett’s “Killer of Sheep.”
Moments in "Moonlight" bring a whole range of disparate films to mind, its poetic involvement with day-to-day black life, for instance, recalling Charles Burnett's "Killer of Sheep" while its counterpointing of strong, often violent emotion with evocative music (Nicholas Britell did the score) echoing Terence Davies' "Distant Voices, Still Lives" to mind.
The Florida Project (2017)
Directed by Sean Baker
influenced by Killer of Sheep (1978)
Visuals Themes
The Florida Project draws on the legacy of films such as Killer of Sheep (Charles Burnett, 1978), which offers a child’s-eye view of Watts, and Little Fugitive (Ray Ashley, Morris Engel, 1953), which does the same for Coney Island.
Baker also shifts to the longer, tougher days of the motel’s grownup occupants—a choice that spiritually aligns The Florida Project with a DIY classic of multigenerational focus, Charles Burnett’s Killer Of Sheep .
Haggis, making his directing debut (he adapted Million Dollar Baby, though none of Eastwood's artisan-grace has rubbed off), aims a hammer at our racial (hence political, hence spiritual) complacency, but the results are comfily neutered, not worth a frame of Burnett's scandalously forgotten The Glass Shield, a far more bruising study of how deep racism runs.
If you’ve ever experienced Michelangelo Antonioni’s L’Aventurra or La Notte; Vittorio de Sica’s The Bicycle Thief and Umberto D, you know of which I speak.
Diving deep into the broiling undercurrents of “post-racial” America, Peele’s hybrid creation starts out like a modern reworking of Guess Who’s Coming to Dinner , before drifting towards the more brutal territories of Kevin Smith’s Red State or Jeremy Saulnier’s Green Room , via the eerie mysteries of Charles Burnett’s To Sleep With Anger .
Silver Linings Playbook (2012)
Directed by David O. Russell
influenced by Killer of Sheep (1978)
Visuals
Benh Zeitlin's debut feature goes for broke with earthy, abstract imagery (unlike, say, Killer of Sheep, Beasts' well-worn images are deliberately so), and only fleetingly does this fantastical facade reveal itself, as the locally cast extras sometimes push their archetypes to the breaking point.