Stacey Muhammad is an award-winning filmmaker and music video director who has written, directed and produced a series of award winning short films in both the documentary and narrative genres all of which focus on documenting and preserving hip hop culture and addressing social issues through film and digital media.
Her works include “I Am Sean Bell, Black Boys Speak,” about an unarmed shooting victim killed by police on the eve of his wedding. It won the Speaking Out Award at the HBO/Media That Matters Film Festival.
Her documentary, “Out of Their Right Minds: Trauma, Depression and the Black Woman” was released to rave reviews in 2010.
Her newest work, the award winning dramatic series, For Colored Boys, REDEMPTION, currently in it's first season, focuses on a father's attempt to rebuild his broken family after being released from prison.
It is Executive Produced by Actor / Producer Isaiah Washington (Grey’s Anatomy) and Journalist, Author and Activist Marc Lamont Hill and stars Julito McCullum (The Wire), Rob Morgan (Pariah) and Tim Reid (WKRP In Cincinnati).
Stacey is also co-founder of the youth media organization, Intelligent Seedz, which teaches youth the art of filmmaking and equips them with the tools to tell their stories.
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REDEMPTION, For Colored Boys, the series / Written and Directed by Stacey Muhammad
For Colored Boys is a dramatic web series written and directed by award winning filmmaker and content creator, Stacey Muhammad of Wildseed Films. Inspired by the highly acclaimed 1975 choreopoem "For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf" by Ntozake Shange, For Colored Boys is a series of short stories that follow the lives of seven African American men from various walks of life as they navigate and overcome challenges, face their fears, find their truth, mend broken relationships, find love, build families and inspire the lives of many.
"Redemption, For Colored Boys" mines drama out of the absent-father-returns scenario but gives the characters a genuine life and personality (the son records music passionately, his father has a warm encounter with a bodega clerk) before the histrionics start, so when they do, it feels realistic. Furthermore, the movie uses the short form to its advantage: the director cuts immediately after the altercation between father and son, suggesting that things can't actually be repaired. It's a much more honest, powerful statement than any gift-wrapped reconciliation you'd find elsewhere. - Christopher Bell (Indiewire)