Spike Lee’s inventive debut is a continuation of past (George A. Romero’s Night of the Living Dead, David Lynch’s Eraserhead, and Leos Carax’ Boy Meets Girl) and further (Kevin Smith’s Clerks and Darren Aronofsky’s Pi) iterations of a convenient tradition in budget filmmaking—debuts shot in black and white as a choice borne by necessity first, and then style. Buoyed in large parts by a Bohemian … Continue reading She’s Gotta Have It (1986)