NEW YORK — Charles Burnett has remained connected with his seminal film “Killer of Sheep” for over fifty years. The film was shot on black-and-white 16mm for a modest budget of less than $10,000 in the early 1970s. Initially crafted as Burnett’s thesis project at UCLA, the film was completed in 1978. Though it didn’t see general theatrical distribution until 2007, “Killer of Sheep” has been lauded as a cornerstone of Black independent cinema and an extraordinary first film, influencing many American movies through the years.
With time, the profound gentleness of Burnett’s work has grown even richer. “Killer of Sheep” presents the life of Stan, a slaughterhouse worker played by Henry G. Sanders, and his young family residing in the Watts neighborhood of Los Angeles. The film remains a vivid depiction of working-class Black life, marked by its poetic grace — such as a couple dancing slowly to Dinah Washington’s “This Bitter Earth” and scenes of children jumping between rooftops — coupled with the hardships of daily existence.
The release of a newly restored 4K version, complete with its original score, has given the film renewed life in theaters. Burnett traveled from his Los Angeles home to New York to discuss the film’s enduring impact. Despite a career filled with resurgences and rediscovery, highlighted by an honorary Oscar in 2017, Burnett’s work is experiencing yet another renaissance. Recently, Kino Lorber released his 1999 film “The Annihilation of Fish,” featuring James Earl Jones and Lynn Redgrave, described as a long-lost charming tale of two lonely souls.
Lincoln Center is launching “L.A. Rebellion: Then and Now,” a film series celebrating the 1970s UCLA movement spearheaded by filmmakers like Burnett, Julie Dash, and Billy Woodberry who revolutionized Black cinema. Raised in Watts after being born in Mississippi, Burnett is soft-spoken yet has much to share, though only some of his words are captured in his seven features and numerous short films.
On a recent spring day, Burnett reflected on Stan from “Killer of Sheep,” seeing the character’s struggles as an ongoing plight rather than a relic of the past. Burnett passionately believes in portraying the humanity and dignity of a Black family, a need he feels is still present. When asked about the tenderness evident in his films, Burnett credits it to the community environment in Watts, deeply rooted in Southern traditions and humanity despite the area’s hard realities.
In “Killer of Sheep,” Burnett diligently portrays the young characters’ preparations for a world that can be cruel, a theme also explored in his short film “The Horse.” Events like the widespread publication of Emmett Till’s image mark an awakening to the world’s harshness. Watching “Killer of Sheep” today, Burnett sees a life that could have been profoundly different.
Burnett recalls the negative prod from a high school teacher who dismissed the students’ potential. Yet, movements to erase Black history, such as those by Florida’s Governor, remain an ongoing struggle. Despite the adverse circumstances, Burnett acknowledges doing the best with available resources, taking solace when his films resonate and prompt life-changing realizations.
The legacy of “Killer of Sheep,” Burnett believes, lies in empowering community youth to realize their potential. By involving local children in the film’s production, he hoped to instill a message: they, too, could create and contribute. Burnett recalls experiences of undervaluation when approaching film sets, a sentiment still lingering beneath shifting attitudes. The struggle for representation and cultural respect, he concludes, is relentless and requires constant reaffirmation.