On November 18, writer and director Elegance Bratton's "The Inspection," starring Jeremy Pope, Raúl Castillo, and Aaron Dominguez, with Gabrielle Union and Bokeem Woodbine, will hit theaters across the country in limited release. Bratton ("Pier Kids," "Buck"), who is openly gay and a former U.S. Marine, has written and directed an epic American drama that is unapologetically Black and queer. These two ingredients would have almost ensured a mainstream film to be dead on arrival before the 2017 Best Picture Oscar win for "Moonlight."

Inspired by actual events, "The Inspection" tells the story of Ellis French (Pope), a young Black gay man rejected by his mother, Inez French (Union), because of his sexual orientation. After being kicked out of the family home, French is thrust into homelessness in New York City. With few options for his future, he joins the Marines to win his mother's love. In the era of "Don't Ask, Don't Tell," the former discriminatory policy prohibiting out LGBTQ service members, French faces the grueling requirements of boot camp, blatant homophobia, and an unrelenting determination to succeed.

Six years in the making, Bratton tells The Reckoning, "The Inspection" began as part of the narrative of a planned autobiography that he ultimately decided to shelve. He credits his husband and producing partner, Chester Algernal-Gordon, for encouraging him to bring his life story to the big screen.

"You need to tell a story that brings audiences to a place they could never go unless you take them there. It has to be really personal," Bratton recalls Algernal-Gordon saying to him at the time. "He insisted that The Inspection would be the one that would change our lives."

The cannon of Black horror films is limited. The cannon of horror films featuring Black queer characters, even more so. It's a sobering reality that Black fans of the genre have endured for decades until the mainstream explosion of Academy-Award-winning writer/director Jordan Peele's cinematic success. In the spirit of Peele, Atlanta-based actor, writer, and filmmaker Isaiah Rice is on a mission to change the face of horror again.

An openly gay man and lifelong horror fan, Rice is turning the 1980s-inspired grindhouse horror aesthetic on its head in his latest short film, "He's Watching You." The film follows Sidney(Rice) and Ryan(Schyler Tillett), a young millennial 20-something Black queer couple visiting a cabin in the woods for a romantic getaway to rekindle their broken relationship. Sidney is a recovering drug addict fighting to stay clean after rehab. Ryan is a recent law school graduate with hopes that the cabin trip will bring them closer together now that Sidney has reached a level of sobriety. While their backgrounds differ, one key thing remains true– their love for one another. However, as romance unfurls at the beginning of the night, it ends in horror with a fight for survival.

"While the core leads are two Black queer men in a relationship, the focus of the story is not centered around their sexuality," Rice says. "This is an issue that most films focus on when it comes to having queer characters. The general queer storylines seem to focus on the trauma of coming out of the closet, hiding your sexuality from society, or at times being oversexualized. "He's Watching You" is a grindhouse horror film, but it has nothing to do with the character's sexualities. They happen to be a queer couple in the wrong place at the wrong time," he says.

A dance and political science alum of Bates College, Rice tells The Reckoning the seed for "He's Watching You" was first planted after expressing his frustration to a film professor about the lack of representation of Black queer couples in horror.

For just about everyone, year one of the Coronavirus pandemic bought both losses and gains. Self-described “outrageous storyteller” Ashton Pina was no exception: Starting the lockdown as an up-and-coming communications professional in a committed relationship, the queer storyteller ultimately ended the first chapter of the Covid crisis as an unemployed, single man.

From those losses, however, came one tremendous gain—the framework for a cinematic exploration of love and transition that, until recently, had only lived in his very creative head.

The fruit of his journey materializes in “Nana’s Boys,” a feature-length film – his first – set to make its local debut at Out on Film in Atlanta this month. In it, Pina explores themes of beginnings and endings, artifice and reality, hope and despair, all against the backdrop of a seasoned relationship between two Black gay men.

Los Angeles-based gay filmmaker Michael Donte hasn’t been called to preach, but he has been called through his art and his latest short film “The Spirit God Gave Us,” to create a world that reimagines what is possible for Black queer people outside of the confines of the Black church.

A multi-hyphenate talent, in addition to directing, Donte also pens the screenplay and is a producer of Spirit. Full disclosure: Counter Narrative Project, which powers The Reckoning, is also an executive producer. The 20-minute short film, which stars Nic Ashe (“Queen Sugar,” “Choir Boy'”) and Elijah Boothe (“Luke Cage,” “Coin Heist”), had its world premiere in May at the Inside Out LGBTQ Film Festival in Toronto. “The Spirit God Gave Us” is an intersectional story of faith and queer love through the lens of Malcolm (Ashe), and Shamont (Boothe), two young Black men who volunteer as ushers for their Baptist church and are faced with reconciling societal and religious expectations with an intense longing for connection and intimacy.

While the history of homophobia in the Black church is well documented, Donte tells The Reckoning that he decided to take a different approach in his screenplay for Spirit.

“Writing the script was a kind of therapy for me,” Donte said. “Challenging the narratives that we often see in media—that was the hardest part about writing the script. I wanted to acknowledge the conflict without making it the centerpiece. And I think we did that,” he said.

Sandwiched in an alleyway on the northeast side of Washington D.C., Black queer, gay, and lesbian artists like Wayson Jones cultivated fertile ground in a coffeehouse. What they did in the cramped space is the stuff of legends, yet the coffeehouse is long gone—much like the city of old. A documentary recently released online captures what the coffeehouse meant—and continues to mean—to Washington, D.C. as well as to Black and queer histories.

"Fierceness Served! The ENIKAlley Coffeehouse" has been making its rounds at select screenings. The ENIKAlley Coffeehouse was a performance and rehearsal space for a cohort of artists, a gathering spot; plus a meeting place for political organizations. This was almost hallowed ground for Black artists to share and workshop their craft. Jones, Essex Hemphill, Cheryl Clarke, Audre Lorde, Blackberry, Casselberry-Dupree, and Pomo Afro Homos all stepped foot into the former carriage house-turned-coffeehouse between 8th, 9th, I, and K Streets, NE. The space at 816 Eye Street, NE was brick, the size of a large walk-in closet, but had great acoustics.

"The intimacy lent itself to that feeling of being part of the family," Jones said.

The film "Fierceness Served! The ENIKAlley Coffeehouse," celebrates this time.

Filmmaking and producing duo Deondray and Quincy Gossfield have been back at their East Point home for over a week since their successful debut at The Tribeca Film Festival, but the energy of New York City and the industry buzz generated from their short film FLAMES is showing no sign of being extinguished anytime soon. Emmy-Award-winning lesbian filmmaker Lena Waithe is responsible for the Gossfield’s return to the director’s chair after spending the last 11 years as reality television producers.