Although it is politically and historically significant,/Judas/is not,
in this writer’s opinion, in the same category as Gillo
Pontecorvo’s/Battle of Algiers/(as suggested by Ed Rampell in his
2/5/21/Counterpunch/piece). A big part of the justification for this
perspective is that the filmmakers made a conscious decision to make the
center of this film the traitor rather than the revolutionary. In an
interview with the 3 producers sponsored by the Producers Guild^[2]
<https://www.counterpunch.org/2021/02/16/we-need-to-talk-about-judas/#post-133162-footnote-2>
, Shaka King (also the director and co-writer) says “it might sound
crazy but in a lot of ways I think most viewers are more aligned with
William O’Neal’s beginning of that film than they are with Fred
Hampton”. This questionable notion represents the fundamental flaw
in/Judas and the Black Messiah/.
https://www.counterpunch.org/2021/02/16/we-need-to-talk-about-judas/
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