Clement Virgo approaches discussions about his latest film, Steal Away, with a mix of nerves and introspection. Known for his work on acclaimed projects like The Wire and The Book of Negroes, Virgo expresses uncertainty about the reception of his new movie, set to debut in theaters this Friday.
When asked about his apprehensions regarding how Steal Away will be perceived by a broader audience, Virgo candidly admits to feeling uneasy. “Absolutely, man. I was nervous. I don’t know if I’m completely successful — I’m hoping I’m successful at it,” he shared.
Describing Steal Away as his most ambitious endeavor yet, Virgo collaborated with his wife, author Tamara Faith Berger, to adapt Karolyn Smardz Frost’s story about a young girl’s escape to Canada during the Underground Railroad era. However, unlike the historical setting of Steal Away Home, Steal Away envisions a futuristic twist on America’s past, offering a unique take on the narrative.
The film, devoid of direct portrayals of enslaved individuals to avoid perpetuating bleak depictions of Black futures, revolves around two central characters: Cécile (Mallori Johnson) and Fanny (Angourie Rice).
As the plot unfolds, viewers witness Cécile’s encounter with Fanny and her family in a setting that blends futuristic and Antebellum South aesthetics. The unfolding events in the family’s grand estate lead to a convergence of opportunities, obsessions, and potentially supernatural elements, culminating in a gripping tale.
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Through a blend of genres like coming-of-age, psychosexual thriller, horror, and Afrofuturism, Steal Away weaves a complex narrative that challenges conventional storytelling norms. Notably, Afrofuturism plays a significant role in the film, evident in the extravagant costumes inspired by a futuristic Congolese culture and hints of a powerful, enigmatic Black-led society lurking in the background.
Virgo intentionally blurs historical timelines and power dynamics in his fictional world, aiming to provoke contemplation on past atrocities and their echoes in contemporary society. Drawing parallels between different eras of oppression, Virgo raises poignant questions about the cyclical nature of history and the relevance of learning from the past.
Hopeful futures
Steal Away also signifies a shift in Virgo’s creative perspective. Immigrating to Canada in the late 1970s, Virgo initially embraced a sense of boundless opportunities and gradual cultural advancements. However, his latest project stems from a place of uncertainty, questioning the trajectory of societal progress amidst ongoing debates about immigration’s impact.
Reflecting on historical patterns of progress and regression, Virgo ponders on the permanence of societal advancements and the cyclical