Still of Greg Lewis in the Power chapter of The Unveiling of God / a love letter to my forefathers. This chapter delves into Black empowerment of the mind, body, and soul. Greg exudes inner power through confidence and a refined wardrobe. The camera angle positions him as a formidable figure, viewed from below in a powerful stance. Original poetry by NIA JUNE and archival audio of Huey P. Newton discussing society's intimidation of Black people in power, along with the disruption of enslaved images, complement the visuals in this section.

Shot by Kirby Griffin, directed by NIA JUNE and APoetNamedNate, featuring Greg Lewis.

Still of Monsio Bropleh resting in a lake during the Protector chapter of The Unveiling of God / a love letter to my forefathers. The Protector chapter explores stigmas surrounding Black men and emotional vulnerability, specifically interrogating the sentiment that crying or emotional distress is a display of weakness. In this scene, the water embodies emotion, healing, and spirituality. Thus, Monsio’s presence in the water metaphorically illustrates being in alignment with one’s emotions, the healing properties of connecting with the earth, and lastly, the safety water provides in experiencing the full range of human emotion without judgment.

Shot by Kirby Griffin, directed by NIA JUNE and APoetNamedNate, featuring Monsio Bropleh

Still of Sharayna Ashanti Christmas and her son Bashi Rose in the Foundation chapter of The Unveiling of God / a love letter to my forefathers. The Foundation chapter explores the Black woman’s impact in the lives of Black men and the Black community at large. The mother-son duo, in traditional African print garments next to a wall of gold-framed family photos, displays the imperative role of motherhood and familial upbringing as the groundwork of adulthood. This shot is accompanied by an archival clip of Amina Baraka, discussing the importance of value systems as descendants of a diasporic community. 
 

Shot by Kirby Griffin, directed by NIA JUNE and APoetNamedNate, featuring Sharayna Ashanti Christmas and Bashi Rose.

Still of ToneZone performing a 12 o’clock wheelie on a dirt bike in the Freedom chapter of The Unveiling of God / a love letter to my forefathers. While Baltimore is known as the “Dirt Bike Capital,” it is often frowned upon by city officials and residents in certain areas. The Freedom chapter explores the radical act of breaking down barriers to experience unabashed joy while living under oppressive systems. This chapter was inspired by my late father who frequently took my sister and I to Druid Hill Park on Sundays to watch dirt bike riders. This scene was shot in collaboration with B-360, an organization that utilizes dirt bike culture and STEM education to equip youth and young adults with the skills to secure educational and career opportunities, while changing the negative perception of dirt bike riders.

Shot by Kirby Griffin, directed by NIA JUNE and APoetNamedNate, featuring ToneZone. Filmed at B-360 camp. 

Still of Wykeem Franklin and his son Solar Be Infinite at Whitelock Community Farm in the opening of The Unveiling of God / a love letter to my forefathers. This opening scene of the film portrays the fertile ground of self-actualization through spirituality and grounding work. Wykeem, caretaker of the community space, tends to the grounds alongside his son, symbolizing inner growth and passing on these values to future generations. Located in Baltimore's Whitelock community, a predominantly Black neighborhood resisting gentrification, the farm serves as a metaphor for self discovery and survival for Black individuals through urban foraging and farming.

Shot by Kirby Griffin, directed by NIA JUNE and APoetNamedNate, featuring Wykeem Franklin and Solar Be Infinite. 

Still of The Jacobs Family in the Foundation section of The Unveiling of God / a love letter to my forefathers. The Foundation chapter explores the Black woman’s impact in the lives of Black men and the Black community at large. The Jacobs family, a resilient blended unit, embodies the essential elements of raising Black children. Destinii and Rickie, the parents, exemplify these elements through discipline and unconditional love. Their portrayal reflects a healthy partnership and a commitment to healing generational traumas. The traditional family portrait also nods to the stylistic tradition of Black family portraits from the seventies, eighties, and nineties.

Shot by Kirby Griffin, directed and set design by NIA JUNE and APoetNamedNate, featuring The Jacobs Family.

Still of Demetrius and his daughter Noir in the Protector chapter of The Unveiling of God / a love letter to my forefathers. The Protector chapter explores stigmas surrounding Black men and emotional vulnerability, specifically interrogating the sentiment that crying or emotional distress is a display of weakness. The father-daughter duo shares a day filled with in-house activities, from playing video games to reading, brushing each other's hair, and concluding with a poignant embrace in front of the mirror. The juxtaposition of the father's protective love and emotional vulnerability highlights the intricate relationship between Black manhood and emotion.

Shot by Kirby Griffin, directed by NIA JUNE and APoetNamedNate, featuring Demetrius and Noir Johnson. 

The Unveiling of God / a love letter to my forefathers — SHORT FILM 

Original Poetry Written and Performed by NIA JUNE

Directed by NIA JUNE and APoetNamedNate

Cinematography by Kirby Griffin

Edited by Kirby Griffin, NIA JUNE, APoetNamedNate

Produced by NIA JUNE