Producer
Marcus Cowans, uma vez encarcerado, está tentando virar a página com o apoio de sua família amorosa. Ao descobrir que um de seus irmãos pode estar envolvido em um crime horrível, Marcus lida com os limites da fraternidade e lealdade. Ele e sua família, cada vez mais cansados das falhas do sistema de justiça, acabam na mira de um detetive experiente, mas cansado.
First Assistant Director
Leigh’s video work Untitled (M*A*S*H) (2018) imagines a fictive order of black nurses operating on the front of the Korean War, a conflict that began between the United States and North Korea in 1950 and never officially ceased. Like M*A*S*H—the long-running American TV show (1972–83) it parodies—the work directs attention to the overlooked life in the staging grounds. Showcasing the agonizing choices faced by those who staff the tented encampments of war, it perhaps also serves as a reminder that our neighborhoods remain a warfront too. Using only artist’s tools, Leigh asks: How do we transform ourselves and others?
