NEW YORK — RaMell Ross introduces his photography students to a distinctive exercise. He instructs them to take photographs of individuals from diverse racial backgrounds—a white person, a Black person, an Asian person, and an Indian person—while engaging them with a question: how do they wish to be depicted?
Before donning the roles of a professor, photographer, documentarian, and feature filmmaker, Ross was a 6-foot-6-inch point guard. His basketball career faced an early halt due to injuries sustained at Georgetown University, leading him to explore human perception and representation in depth.
In his latest film, “Nickel Boys,” Ross adapts Colson Whitehead’s Pulitzer Prize-winning novel from 2019, chronicling the harsh realities experienced by two young men, Elwood (Ethan Herisse) and Turner (Brandon Wilson), at a notorious Florida reform school, Nickel Academy. The story confronts the harsh legacies of the Jim Crow era in America, bringing forth themes familiar to viewers while establishing a distinct narrative language.
Ross crafted the film largely from the perspectives of Elwood and Turner, inviting the audience to experience the world through their eyes—a skyward gaze, the impact of violence, or the warmth of compassion between individuals. “It’s an ode to perceiving the world through the eyes of those traditionally marginalized,” Ross articulates. He aims not simply to recreate historical aesthetics but to challenge and redefine them.
Presenting itself as an “empathy machine,” “Nickel Boys” represents a notable leap forward in filmmaking. By immersing the viewer in the psyche of its central characters, the film strips away many of the conventional approaches typically seen in contemporary and historical narratives alike.
“I believe if someone grappling with stereotypes were to see the world through my lens, their perspectives would be challenged or transformed,” Ross shared in a recent coffee chat in Manhattan. “This power derives from both self-perception and observation.”
For Ross, a visual arts instructor at Brown University, filming “Nickel Boys” signifies more than just innovative cinematography. It stands as an effort to articulate a visual language specific to Black consciousness. In the time of the film’s setting, prevailing imagery was often detached from the viewpoints of individuals like Elwood and Turner.
“The key inquiry is,” Ross postulates, “can we fill the gaps left in the visual archives?”
First-person point-of-view cinematography has made appearances throughout cinematic history, with examples such as Robert Montgomery’s 1947 adaptation of “The Lady in the Lake.” Ross approached this concept with a broader vision—eschewing gimmicks for genuine depth in representation.
In his acclaimed photography series “South County, AL (a Hale County),” Ross delved into the complexities of Black identity across a Southern landscape, historically impacted by other well-known photographers. Having relocated to Greensboro, Alabama, for social work and education, he recognizes time as an essential component of his artistic endeavors. “I’m focused on enriching the present,” Ross indicates.
Before production began, Ross and cinematographer Jomo Fray dedicated a month to experimenting with various camera techniques. Fray, who previously worked on the lyrical drama “All Dirt Roads Taste of Salt,” found the exploration of new cinematic language exhilarating. “We are merely beginning to uncover the potential of cinema, which speaks a language akin to our dreams,” Fray suggests.
Together, Ross and Fray sought to create what they term a “sentient perspective” rather than a shaky traditional point-of-view. This approach aims to capture the essence of being within a body rather than limiting itself to mere optics. “It’s an invitation,” Fray notes, emphasizing that the film allows viewers to inhabit another’s experience for two hours genuinely.
Creating this perspective was no easy task, requiring a reimagination of common actions and interactions in the film. Each element of production designed by Norah Mendis aimed to be comprehensive and immersive, with camera operation necessitating a collaborative acting effort from Fray.
Once production commenced, Ross quickly understood the challenges associated with this innovative storytelling method. However, the film’s impressionistic imagery transcends mere narrative, allowing audiences to connect with Elwood and Turner through the nuances of their perceptions and observations. The actors frequently found themselves interacting closely with the camera, developing a unique on-screen dynamic.
As Wilson explains, “We frequently swapped roles with Jomo or RaMell, focusing on remaining present in the moment. Looking down the lens required a different approach; the goal was not to act for the camera but genuinely see the person on the other side.” Herisse recounts his first viewing experience with a sense of detachment, acknowledging the difficulty in connecting his portrayal with the character’s journey.
Reactions to “Nickel Boys” have been profound, though some critics express reservations concerning the film’s subjective viewpoint and its impact on character connections. While acknowledging the challenges some may face, especially those less acquainted with art-centric narratives, Ross confronts such criticism directly, emphasizing the need for authentic representation. “It’s crucial that Black narratives don’t cater to comfort but rather, challenge perception,” Ross asserts.
As he envisions future film projects, Ross acknowledges he is not in a rush. His role as a professor allows him to engage deeply with cinema and photography while imparting wisdom to a new generation of artists.
Ross is still carving out his linguistic expressions within film, pondering terms more fitting than “shooting” when describing his work. “I’m not quite there yet,” he admits. “But I encourage engagement with the world—go create, go make images.”
