Filmmaker Spotlight: Nia DaCosta
By Morgan Roberts
Nia DaCosta is a filmmaker who can do it all. From deeply moving family dramas to stylish horror films to big budget superhero movies, DaCosta is beyond versatile in her work. When her feature directorial debut, “Little Woods” premiered at the Tribeca Film Festival, DaCosta received the Nora Ephron Award for “excellence in storytelling by a female writer or director.” “Little Woods” was one of 12 projects chosen for the 2015 Sundance Screenwriters and Directors Labs which included filmmaker Lynn Shelton as one of her advisors in the program. Her follow-up feature film was the 2021horror film “Candyman,” which served as an expanded sequel to the 1992 film of the same name. With “Candyman,” DaCosta became the first Black female director to have a film debut at the top of the box office. A couple of years later, during the height of the SAG-AFTRA strike, DaCosta’s largest project, “The Marvels” was released in 2023 which follows the unlikely trio of Captain Marvel (Brie Larson), Monica Rambeau (Teyonah Parris), and Ms. Marvel (Iman Vellani) as they attempt to save the universe. In this stage of the Marvel juggernaut, “The Marvels” stands out due to its daring exploration of found family and redemption. DaCosta has two big films, “28 Years Later: The Bone Temple” and “Hedda,” coming out in the next few years. Let us dive into DaCosta’s work as we begin to anticipate her future projects.
Little Woods (2018)
“Little Woods” is a Neo-Western film rooted in the harsh realism of poverty, disenfranchisement, and systems of oppression in rural North Dakota. Sisters Ollie (Tessa Thompson) and Deb (Lily James) are each stuck within their own cycles. Ollie is currently on probation is struggling to find employment. Complicating her situation, she is about to lose her childhood home. Meanwhile, Deb, a single mother living in an illegally parked trailer, learns she is pregnant, but plans to terminate her pregnancy. Her state, however, has exceedingly strict abortion laws which make it nearly impossible for her to terminate her pregnancy, and the financial impacts further compound the issue. After Deb confides in Ollie, the sisters try to salvage the home that saved them, and break the cycles they find themselves in.
Lily James and Tessa Thompson in “Little Woods” (2018) | Neon
Westerns are not normally my favorite films, but this take on what constitutes as an American epic certainly revitalizes and reclaims the genre. DaCosta understands the grandness of a Western, utilizing the vastness of that region of the country to accentuate the isolation of the sisters, and their reliance on each other. DaCosta noted inspiration from Debra Granik’s “Winter’s Bone” and Courtney Hunt’s “Frozen River.” Much like her inspirations, “Little Woods” is deeply rooted in the human experience. The film does not work if the women who are at the center of the story are not nuanced, layered, complicated people. It is in those layers we find real humanness. Ollie is trying to transform her life in the final eight days of her probation, but with a previous conviction on her record, being able to secure employment that would radically change her life seems nearly impossible. Moreover, supporting her sister as she navigates the reproductive healthcare system threats Ollie’s ability to live within the constrains of the law. Additionally, Deb is attempting to break generational trauma, for her son and ultimately herself. Yet, she finds a roadblock everywhere she turns. Turning to Ollie seems like a huge step for Deb, especially consider the semi-estrangement between the sisters after their mother’s illness and death.
When one pictures a Western, the “damsel in distress” and hero to sweep her off her feet are two prominent tropes. In “Little Woods,” DaCosta subverts that, having both sisters be “damsels” who help one another and themselves. Executing that vision are two stellar performances from Thompson and James. Thompson, in her reserved resilience, anchors the film with her performance. Ollie keeps things close to the chest, never divulging too much, and Thompson never betrays Ollie’s survival mechanisms while also not alienating the audience. It is a difficult line to tow, but she does so effortlessly. Meanwhile, James allows Deb to be a little more open, though, still masking as a way to protect her young son from the full reality of their situation. When the pair are on screen together, you can sense a longevity in their relationship. Ollie and Deb have a long, strained history. Given that this is an independent film, it demonstrates the richness of the text and the caliber of the performances that in such a short time, the film manages to feel incredibly lived-in and real. As writer and director, DaCosta is able to craft a vision which is rooted in an honest, human experience.
Candyman (2021)
With her second film, DaCosta tackles the horror genre with a stylish and deeply rich sequel to the 1992 “Candyman” film. In DaCosta’s “Candyman,” artist Anthony McCoy (Yahya Abdul-Mateen II) lives in Chicago with his art gallery director girlfriend Brianna “Bri” Cartwright (Teyonah Parris) in the now gentrified area of the Cabrini-Green housing projects. Exploring the old row houses, Anthony meets Billy Burke (Colman Domingo) who grew up in one of the high rises. Billy tells Anthony all about the death of Sherman Fields (Michael Hargrove), who was killed by racists police after being falsely accused of putting razorblades in candy. Soon Anthony learns not just about Fields, but the origin of the Candyman (Tony Todd) legend, unleashing the haunting figure in the process.
Yahya Abdul-Mateen II in “Candyman” (2021) | Universal Pictures
“Candyman” brilliantly uses the horror genre to explore the Black experience in America. The film was written but released after the murder of George Floyd which sparked nationwide protests and spurred conversations, particularly for white Americans, about racism in the U.S. The film demonstrates the long history of racist abuse and killings in the United States, particularly in areas which perceive themselves as “not racists.” Chicago has a long history of segregation. In Ben Austen’s book, “High-Risers: Cabrini-Green and the Fate of American Public Housing,” Austen discusses the Cabrini-Green public housing, specifically the high rises, and how race, class, and policy impacted that community. The Candyman story has largely been took by white filmmakers and uses Cabrini-Green as a way to enhance fear given its reputation rather than examine how politicians and policymakers have disenfranchised the community of Cabrini-Green. With her film, DaCosta becomes the first Black filmmaker to explore this story. The script, co-written by DaCosta, Jordan Peele, and Win Rosenfeld, is particular in how it discusses the area. It examines more what the insidiousness of white supremacy has done to the Cabrini-Green, rather than the Black community that lived there post-WWII until its demolition in 2011.
Moreover, DaCosta is cognizant of the violence she chooses to show. For example, when Candyman returns, there is only one instance early on in the gallery where we truly see gore. Most of the killing we witness is from afar or heard but not seen. She evokes this especially when Fields is killed by a white police mob. We never witness his killing, but given the long history of police violence we have seen, we can imagine the horrors that unfolded. Additionally, when violence against Black men is seen on screen, DaCosta uses shadow puppet montages to visually describe those events. It is similar to Mary Harron’s “American Psycho” or Jonathan Glaser’s “The Zone of Interest.” The use of violence in both films is strategic and purposeful without venturing into a gratuitous use. More so like Glaser’s film, DaCosta never underestimates her audience, knowing their imagination can conjure up something more heinous than she could show them in the film. It is powerful and a smart move considering the violence we see almost daily against people of color in America.
Teyonah Parris in “Candyman” (2021) | Universal Pictures
Once again, the film does not work without the performances. Abdul-Mateen understands Anthony draw to the Cabrini-Green area. Anthony exists in a place of privilege. He joins the people who have gentrified the neighborhood, making it unattainable for the community who originally built it. Anthony also works in the art world which is usually a difficult space to exist as a person of color. White patrons love to include the art of non-white artists, but expect the art to conform to their white sensibilities - which we see in the film with art critic Finley Stephens (Rebecca Spence). Watching Anthony navigate a space that clearly holds him to different standards is fascinating and makes his journey all that more understandable. Abdul-Mateen knows the depths of the story and of Anthony who struggles to discern what is real and what is imaginary as the grip of the Candyman takes hold. Additionally, the film’s greatest strength is Parris. Bri also exists in a space not welcoming for Black women. As a gallery director, she is under immense scrutiny for the art she showcases, especially from art dealer Clive (Brian King). Bri has to navigate a balance assimilation to the industry without the complete loss of her own vision. As Bri witnesses Anthony’s descent, it is her emotional grounding that anchors the audience amidst the chaos of the film.
“Candyman” is likely DaCosta’s most ambitious film to date, and she takes giant swings as a filmmaker. The film is visually stunning and thought-provoking. Even upon rewatch, you can find something new with each viewing. Whether it be a visual element or a choice made by an actor - Domingo continually takes me by surprise with his performance - that elevates this new installment of the “Candyman” series.
The Marvels (2023)
Tackling her biggest budget yet, DaCosta was first announced as the filmmaker to helm the sequel to 2019’s “Captain Marvel” in August 2020. The film follows Captain Marvel (Brie Larson), Kamala Khan aka Ms. Marvel (Iman Vellani), and Monica Rambeau (Teyonah Parris) as their powers inexplicably become entangled, forcing the trio to work together in order to save the universe from Dar-Benn (Zawe Ashton).
As someone who only watches Marvel movies if I like the director, DaCosta was able to move forward the studio’s plot without making it difficult for someone like myself who only pops in and out the movies. With an hour and 45 minute runtime, “The Marvels” manages to be fun, exciting, and entertaining. While the end of the film certainly feels like a studio overreach, but what DaCosta manages to keep as her own vision is incredible. There is a song and dance number, humor peppered throughout, and so many cats. It is evident just how much of that came from DaCosta and co-writers Megan McDonnell and Elissa Karasik.
Iman Vellani, Brie Larson, and Teyonah Parris in “The Marvels” (2023) | Walt Disney Studios Motion Pictures
DaCosta, in talking with Letterboxd, discussed the influences of the film. She always aimed for natural-adjacent lighting which helps retain the realness of the film when you are center-left of reality as we know it. That lighting was so critical as she avoided close-ups and other techniques filmmakers like to use to help create a sense of reality in a sci-fi or action movie. DaCosta also noted influence from cinematographer Hoyte Van Hoytema, especially his work in “Interstellar” which uses lens to create an expansiveness and bringing a sense of awe. Moreover, to create a sense of sisterhood, DaCosta referenced films like Lynn Shelton’s “Your Sister’s Sister” and Forest Whittaker’s “Waiting to Exhale.”
Those influences and the focus on the interpersonal relationships between Monica, Kamala, and Carol is what makes “The Marvels” standout. As of late, superhero and action movies are more focused on, well, the action. They lose sight of what makes filmmaking and stories interesting and fun. You can be both entertaining and deeply human without losing the integrity of either element. DaCosta demonstrates, with “The Marvels,” that some of the best filmmaking is allowing deep personal connections and pure entertainment to exist simultaneously. You get the sense of awe with the scenes in space, the heart and humor as the three main characters navigate this journey together, and wild, unfettered joy of watching action sequences. It manages to combine all of these elements and feeling largely original, even with certain constraints and meddling.
Looking Forward
DaCosta has two major projects in the works. First, “28 Years Later: The Bone Temple,” is another installment in the “28 Days Later” film series. The film is a continuation of the upcoming film, “28 Years Later,” and stars Aaron Taylor-Johnson and Jack O’Connell. Not much else is known about the film. That said, DaCosta is likely use the same filming elements from both “Candyman” and “The Marvel” which made those films quite unique in their vision and execution.
Her next project, “Hedda,” is an adaptation of the Henrik Ibsen play, “Hedda Gabler.” The film has DaCosta reteaming with Tessa Thompson playing the titular role with Imogen Poots and Tom Bateman in supporting roles. “Hedda Gabler” is one of the few stage roles purposefully written from an older actress. Filmmaker Halina Reijn references the play quite often in her work. The play has been adapted over a dozen times on film, but the combination of DaCosta and Thompson feels quite exciting. Thompson is a dynamic actor, and with DaCosta’s adaptation of this work, “Hedda” remains one of my most anticipated upcoming films.
DaCosta has demonstrated her range as a filmmaker. From intimate, human stories to audacious, bold action films, DaCosta has more than shown her capabilities and malleability as an artist. Her work showcases how she gravitates toward authentic humanness even in the most grand circumstances. DaCosta’s upcoming work ranges like the rest of filmography, and she remains an exciting filmmaker to watch.