'The Descendant' director margaretlbrown couldn’t have anticipated the unearthing of the slave ship Clotilda or the silence from the family who’d owned it
Theor the silence from the family who’d owned it.would be located when she started shooting, the last known slave ship to have arrived in the U.S., landed near Mobile, Alabama, in 1860, more than half a century after the international slave trade had been outlawed and made punishable by death.
When some of the attendees go out on a boat to the wreckage site, Michael Foster poses for a photo with twodescendants, and someone points out that the last time a Foster and a Lewis were together there was the night the ship was burned. It’s a congenial moment of extreme discomfort, a reminder of how unprepared even the seemingly willing really are to reckon with an inheritance of historical atrocity.
Brown, a Mobile native, first trained her camera on her hometown to explore its Mardi Gras celebration, the country’s oldest and entirely segregated with separate organizations crowning a white king and queen and a Black king and queen. That 2008 documentary,, was, in Brown’s words, a work of “white anthropology” about tradition and which aspects of the past get celebrated and buried.
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