Charles Burnett‘s 1978 film “Killer of Sheep” is a landmark of African American independent cinema, offering a raw and poetic look at life in the Watts neighborhood of Los Angeles. Shot on a shoestring budget over weekends and completed as Burnett’s MFA thesis at UCLA, the film defies conventional narrative structure to present a series of loosely connected vignettes centered around Stan, a slaughterhouse worker struggling to support his family and maintain his dignity.

“Killer of Sheep” is notable for its neorealist approach, drawing inspiration from Italian neorealist cinema and applying its principles to depict African American working-class life. Burnett used non-professional actors, real locations, and natural lighting to create an authentic portrayal of the community. The result is a film that feels more like a documentary at times, capturing the rhythms and textures of everyday life in Watts with remarkable intimacy and honesty.

The film’s protagonist, Stan, is a complex and deeply human character. Played by Henry Gayle Sanders, Stan is neither heroic nor villainous, but a man worn down by the daily grind of poverty and unfulfilling work. His emotional detachment and struggle to find joy in life serve as a powerful metaphor for the broader challenges faced by working-class African Americans.

Visually, “Killer of Sheep” is striking in its black-and-white cinematography. Burnett, who also served as the film’s cinematographer, creates images of stark beauty, finding poetry in the urban landscape of Watts. The scenes in the slaughterhouse, while difficult to watch, are filmed with a matter-of-fact directness that underscores the harsh realities of Stan’s work.

Music plays a crucial role in the film, with Burnett using an eclectic soundtrack that includes classical music, blues, and jazz. The juxtaposition of these songs with the gritty visuals creates a unique emotional resonance, often highlighting the gap between the characters’ aspirations and their reality.

One of the film’s most powerful aspects is its portrayal of children. Burnett captures the playfulness and resilience of the neighborhood kids, showing them creating games and adventures amidst the urban decay. These scenes provide a counterpoint to the adults’ struggles, suggesting both hope for the future and the cyclical nature of poverty.

“Killer of Sheep” faced significant distribution challenges upon its completion due to music licensing issues. As a result, it was rarely screened for many years, achieving a kind of mythic status among cinephiles. Despite this limited exposure, the film’s influence on independent and African American cinema was profound.

In1990, “Killer of Sheep” was among the first 50 films selected by the Library of Congress for preservation in the United States National Film Registry for being “culturally, historically, or aesthetically significant.” This recognition helped to cement the film’s status as a classic of American cinema.

The film’s impact on African American cinema cannot be overstated. It offered a new model for depicting Black life on screen, one that eschewed stereotypes and sensationalism in favor of quiet observation and poetic realism. Many subsequent filmmakers, including Barry Jenkins and Ava DuVernay, have cited “Killer of Sheep” as an influence on their work.

“Killer of Sheep” also stands out for its unflinching look at the effects of economic inequality on Black communities. Without resorting to didacticism, the film presents a powerful critique of a system that traps people in cycles of poverty and unfulfilling labor. This aspect of the film remains sadly relevant today, as issues of economic justice continue to be central to discussions of racial equality in America.

In 2007, nearly 30 years after its completion, “Killer of Sheep” was finally given a wide theatrical release following a restoration by the UCLA Film & Television Archive. This release introduced the film to a new generation of viewers and critics, many of whom hailed it as a masterpiece of American independent cinema.

In conclusion, “Killer of Sheep” stands as a towering achievement in African American cinema. Charles Burnett’s neorealist approach, coupled with his poetic visual style and deep empathy for his characters, created a film that offers a unique and powerful portrayal of Black working-class life. Its influence on subsequent filmmakers and its continued relevance to discussions of race and class in America ensure its place as a classic of not just African American cinema, but American cinema as a whole.