Solange Drops When I Get Home Film: Watch
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As part of your account, you’ll receive occasional updates and offers from New York, which you can opt out of anytime. By submitting your email, you agree to our Terms and Privacy Policy and to receive email correspondence from us. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data. In addition to the album and film, On March 3, Solange’s Saint Heron imprint will be hosting “When I Get Home, A Special Album Experience,” at multiple venues across Houston. “I just want to thank you guys for allowing me the space to evolve, experiment and express new frontiers,” Solange said at the time of the program’s debut.
The Internet’s Steve Lacy also contributed production, which Solange hinted at when she previously told the Times that the two had been “jamming” together. "I'm so grateful for you guys allowing me the space and time. So so so grateful. Ima be celebrating all week long the coming of home 🖤." Solange’s themes of emotional strife and gendered expectations are intimately bound up with her concept of home. Houston is a palpable presence in the film, and Solange made sure that showings were available in familiar community spots in her hometown. Co-directed by Terence Nance , When I Get Home displays his deftness at handling the Black narrative across time and unknown spaces and territories; using Solange’s roots, he weaves intersecting threads, creating a future that can be home to Black people across the diaspora.
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Solange first introduced When I Get Home with her album of the same name in 2019 as an introspective exploration of what home means. Visually stunning and eclectic, the film features surreal and futuristic imagery while celebrating Black culture and paying homage to her hometown of Houston. Scenes range from Black cowboys riding through the city to glittery spaceship settings to various dance sequences, all set to songs from her celebrated LP like "Down with the Clique," "Almeda," "Stay Flo," and more. In anticipation of the album’s release, the home page on Solange’s website directed to blackplanet.com/solange/, where she released teaser visuals on her profile. She also created a hotline using the phone number from Houston rapper Mike Jones’ 2005 song “Back Then” to share snippets and information about the album.
The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy. The intro to this interlude is a sample of an old YouTube video of Atlanta rappers Diamond and Princess (from Crime Mob, of “Knuck If You Buck” fame) fake-interviewing each other in the back of a car. Erica Gonzales is the Senior Culture Editor at ELLE.com, where she oversees coverage on TV, movies, music, books, and more. The album is a love-letter to Solange’s home town, Houston, Texas, and is narrated by various African-American women whom she grew up with.
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The extended director’s cut of her short film, When I Get Home, which features additional scenes and a new song. Fresh off the release of her highly anticipated fourth studio album, When I Get Home, the Grammy-nominated singer dropped an accompanying short film Friday . The director's cut of Solange's art film, When I Get Home, is now streaming on the Criterion Channel in honor of its two-year anniversary. There will be more online activations throughout the week on the singer's BlackPlanet page to continue the celebration too. You can reimmerse yourself in Solange’s visual work of art by way of the new director’s cut on Criterion Channel‘s official website.
The video references the Houston rapper Mike Jones and his well-known cell phone number. She also set up a page on BlackPlanet, a social networking website aimed at African Americans, and shared teaser images for the album on the site. When I Get Home springs from the Houston of Solange’s third eye, deeply connected, specific, rooted, enigmatic, and experiential. It reflects the varied cosmopolitan experiences she had growing up and her current protective, nurturing embrace of Houston and her home state. A heartbreakingly beautiful film collage, it takes the best attributes of remix culture and applies them to Houston’s architecture styles, from row houses to colonial revival mansions to postmodern ‘80s downtown skyscrapers to the Renzo Piano-designed Menil Collection, which she grew up visiting and where she recently performed. The film is first and foremost an ode to Blackness and Black collectivity, and expressly Black female collectivity, within a uniquely African American experience.
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Solange’s video features locations throughout Texas and foreshadows When I Get Home with its scenes on the stairs and in the lobby of Houston’s Alley Theater. Prior to releasing the director’s cut of When I Get Home on YouTube, Solange shared the extended version of the film at museums and contemporary art institutions around the world. Solange directed and edited When I Get Home, with contributions from Alan Ferguson, Terence Nance, Jacolby Satterwhite and Ray Tintori.
Music video director Alan Ferguson, filmmaker Terence Nance, visual artist Jacolby Satterwhite, and video director Ray Tintori contributed to the editing process with additional credit given to Autumn Knight and Robert Pruitt, according to Pitchfork. I came to Houston for the first time a year and a half ago when I began a new adventure as Artistic Director of the Houston Cinema Arts Society, right around the time When I Get Home was released. The album quickly became my muse and guiding light, and a celebration of my own Black American womanhood. Because of COVID-19, I haven’t been able to return to Houston, which I have fallen in love with, and so I stay and wait in New York City—my first love, where I was born and raised—and work from with folks in H-Town remotely.
Solange Knowles is reflecting on the past two years—specifically, the day she released her fourth studio album, When I Get Home. When I Get Home marked Solange’s fourth full-length album and followed her 2016 LP, A Seat at the Table. The singer recently performed a nine-minute medley of songs from the album on The Tonight Show. Directed and edited by Solange, the creative vision behind the 33-minute film was inspired in part by the devastation of Hurricane Harvey in Houston.
Like her previous, groundbreaking album A Seat at the Table, Home is a rich tableau of collaboration, black history, and references to her Houston upbringing (the homeward destination implied by the collection’s title), but the album takes even more experimental risks with her sound. Among the mix of artists involved are Gucci Mane, Dev Hynes, Earl Sweatshirt, Cassie and … a viral Atlanta public-access sexpert? “When I first started creating “When I Get Home” I was quite literally fighting for my life…” reflected the singer-songwriter in an Instagram post commemorating the momentous occasion. Perhaps no performance artist in recent history has paid such exquisite tribute to her hometown as Solange with her 2019 film and album When I Get Home.
It’s already been two years since the release of Solange Knowles’ When I Get Home. To celebrate her fourth studio album’s debut, the Grammy award-winning visual artist has teamed up with the Criterion Channel to exclusively premiere a remastered director’s cut of its accompanying art film. As icing on the anniversary cake, a series of digital activations will go down this week on her Black Planet page and feature art installations created over the years, a digital collage of fan images and testimonial stories curated by Solo, along with special performances and screenings. She peppers rural and suburban landscapes with Afrofuturistic imagery and orchestrates a glorious, ceremonial union of Black people in monochrome outfits, herded with elaborate choreography. On Thursday, the 32-year-old singer, songwriter, multi-disciplinary artist surprised released her latest studio album When I Get Home.
The album is a mixture of R&B, the Houston style of ‘chopped and screwed’ hip-hop, and cosmic jazz. Contains a sample of the recording "I Hope You Really Love Me" performed by Family Circle, written by Charles Simmons, Jr; used courtesy of The Numero Group. "Exit Scott" contains a sample from "Poem to Ann #2" as written and performed by Pat Parker; used courtesy of Sinister Wisdom and The Olivia Companies. "Binz"contains samples from "Didn't Want to Have to Do It" as performed by Rotary Connection, written by John Sebastian; used courtesy of Universal Music Enterprises. "We Deal with the Freak'n" contains samples from "Turn Me On" as performed by Rotary Connection, written by Sidney Barnes and Greg Perry; used courtesy of Universal Music Enterprises. "Dreams"contains a sample from "No" as written and performed by Duval Timothy; used courtesy of Carrying Colour.
Like A Seat at the Table, Solange gave us little time to prepare for When I Get Home, mostly because sharing her art makes her antsy; drawing out the process would only make it worse. (“I have this fear living in my body about releasing work,” she told the Times. “I don’t know any artist that doesn’t feel that before they hit the send button.”) Instead, Solange reemerged on — of all places — BlackPlanet, bringing back from the presumed dead one of the original social-media platforms that was created specifically by and for black people. She launched her own page with lyric excerpts and a dossier of new images, both still and moving, that appear to be pieces of a larger visual project.
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