Tribeca has done it again !
In today’s cultural climate, the celebration of diverse voices from all walks of life—while maintaining a shared human theme—is not only powerful but necessary. With the support of Lena Waithe’s Hillman Grad and 271 Films, over 3,000 jobs have been created and 50 films have been funded over the past five years. This partnership is a true testament to the power of authentic storytelling and its ongoing impact.
Seeing these stories brought to life—and celebrated—is phenomenal. To the filmmakers, thank you for your vulnerability and for allowing your life experiences to become the driving force behind such deeply human narratives. One film that stood out to me was Something Real. As the debut piece in the collection, it set the tone with its timely message. In a world increasingly shaped by AI, bots, and billionaires aiming to replace human labor, this film reminded us that being emotionally honest and human is still vital.
The films that resonated with me the most were Jahmil’s Haint, Sylvie’s Window Cleaner, and Oanh’s The Stand. These stories echo themes from my own life. I throughly enjoy Jahmil’s visual display of cultural displacement and the loss of heritage. Haint—beautifully highlights the erasure of the Gullah Geechee culture, using a psychological thriller format that reminded me of Ryan Coogler’s Sinners. The Southern backdrop, the ancestral eeriness, and the haunting score all drew me in and left me excited to see the direction the characters actions to take place .
As a West Indian, I felt deeply connected to the immigrant experiences portrayed in Window Cleaner and The Stand. These films captured the quiet struggles immigrant families face in trying to hold onto a new life while walking a tightrope of caution. Window Cleaner illustrated the internal battle between staying silent or speaking up against injustice, even when it might cost you everything. The Stand struck an even deeper chord. As the eldest daughter in an immigrant household, I saw my own life reflected in its narrative—the weight of being a provider while still trying to carve out an identity for yourself. That film didn’t just tell a story; it told my story.
I also want to give heartfelt recognition to Julia’s Boyfighter. I give props to Julia for showcasing her pain and loss of her brother through this film . Boyfighter show a realistic and alarming side of street fighting that we as viewers aren’t use to . The films that usually showcase street fighting, only highlights the resilience and growth of the fighter , but Julia show the loss and how street fighting throughly affects the mind of the fighter . In the end, she honored her brother by shining a light on the mental impact and deadly consequence underground fighting has that often gets overlooked.
Etzu’s Killing Jar was another standout. It explored grief through the lens of science in a way that was strangely poetic. Watching the main character process loss through her fascination with insects and biology was both eerie and beautiful. It portrayed death as a natural extension of life, rather than something to fear.
Another favorite was Jasmine’s Honey Bare. The opening dance number was theatrical and captivating, and the film cleverly examined the tension between humanity and technology. The way it portrayed Honey Bear being replaced by an AI version felt eerily real. Jasmine’s homage to her Baltimore roots—through Baltimore Bounce-inspired music and the dance in the gym scene—was a joyful and cultural highlight. I also appreciated the subtle contrast she drew between Baltimore and DC cultural practices, all while addressing the broader issue of cultural erasure.
After a whirlwind week of red carpets and press coverage, I truly appreciated the chance to just be an audience member. These films fed my cinematic appetite with these and reminded me why storytelling matters. I felt immersed in the worlds of these brilliant filmmakers . I hope to one day be part of the Rising Voices family and contribute to the beautiful tapestry of stories being told.
Written and photographed by Xavier E.
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