RaMell Ross, the visionary director and co-writer of “Nickel Boys,” delves into the complexities of time travel and representation in his work. In a recent interview, Ross discussed how his experiences as a high school teacher and coach in Hale County, Alabama, profoundly influenced his perspective on filmmaking and photography. His critically acclaimed film, “Hale County This Morning, This Evening,” reflects this transformation, challenging traditional narratives about Black lives. Ross emphasizes the importance of staying connected to the communities he documents, rather than extracting stories and leaving without looking back. His latest project, “Nickel Boys,” continues this exploration by recontextualizing historical images of Blackness and questioning the nature of film itself. Through innovative techniques and deep empathy, Ross invites audiences to reconsider their understanding of time, history, and identity.

A Deep Dive into RaMell Ross’s Creative Process

In the heart of the American South, during a pivotal moment in his life, RaMell Ross found himself teaching and coaching in Hale County, Alabama. This period was transformative for him, as it forced him to confront the gap between what he believed to be true and the reality he encountered. As a Northern-born Black individual, Ross had preconceived notions about progress and Southern life that were challenged by his interactions with the community. He realized that the camera, often used as a tool for creating Western knowledge, had historically shaped perceptions of Black identity in America. Determined to address this, Ross directed “Hale County This Morning, This Evening,” a non-linear documentary that captures the essence of the community he joined. Even after completing his work there, Ross chose to remain in the county, rejecting the extractive practices common among filmmakers who enter marginalized communities only to leave without contributing.

“Nickel Boys,” Ross’s adaptation of Colson Whitehead’s novel, further explores these themes through the story of two young Black boys, Elwood and Turner, at an abusive reform school in 1960s Florida. Shot from a first-person perspective, the film becomes an exercise in empathy, urging viewers to question the nature of film and its role in shaping perception. Ross interweaves archival footage of historical Black figures and events, including images from the Dozier School for Boys, a real-life institution that inspired the film. These images serve as a powerful reminder of the forgotten and discarded lives, challenging the audience to rethink the relationship between past and present. The ethio-jazz standard “Tezeta” plays a crucial role in one of the film’s most poignant sequences, where time and memory blur, inviting reflection on the cyclical nature of history and the possibility of redemption.

From a journalist’s perspective, Ross’s work offers a profound commentary on the power of storytelling and its potential to reshape our understanding of the world. His commitment to staying engaged with the communities he represents sets him apart, reminding us of the importance of empathy and responsibility in storytelling. Through his films, Ross not only challenges dominant narratives but also invites us to consider the ways in which we engage with history and each other. His approach to filmmaking encourages a more nuanced and compassionate view of the past, while also offering hope for a future where stories are told with greater care and integrity.