Janelle Monáe: Reliving the Past to Unlock a Better Future in Antebellum

Already a formidable force in music, Janelle Monáe has created a promising career in TV and film over the past few years as well, honing her craft with strong performances in films like Hidden Figures (2016) and Harriet (2019), and even taking over the lead role in season two of the original Amazon series, Homecoming. Monáe has simultaneously challenged herself as an actor all while being highly instrumental in creating a necessary new space for untold black stories and experiences. She continues this mission in her newest film, Antebellum, written and directed by Gerard Bush and Christopher Renz, and from the producers of Jordan Peele’s box office hits, Us (2019) and Get Out (2017).

While there have been quite a few noteworthy projects to speak of within the new wave of black horror films to grace the silver screen lately, this particular story adds a fresh new perspective—a black woman as the protagonist. Monáe plays the role of a successful author, Veronica Henley, alongside co-stars Kiersey Clemons, Gabourey Sidibe, Marque Richardson, Tongayi Chirisa, and others. Veronica’s life takes a dark and twisted turn for the worst when she finds herself trapped in the horrific past of the antebellum South. But what audiences will soon discover is that even more terrifying than waking up on a southern antebellum-era plantation is the realization that the sins of this terrifying past are still being perpetuated in the present, and will continue to be felt in our not-so-distant futures unless we can collectively annihilate the oppressive structures that consistently traumatize black communities. If nothing else, Antebellum is a reminder that our communities are still in dire need of healing and repair due to the atrocities experienced by our ancestors.

Monáe recently sat down with us to discuss her role in the film, how it challenges us to take a closer look at the past, present and future of black history in America, and how we can all play a vital role in securing a future that will allow us to truly be free.

“My number one goal with this film is to connect those dots and remind us that the past is not the past—the past is not dead. Until we confront these things, honestly black people won’t be free. “

In comparison to films like Jordan Peele’s Us, Get Out, and even more recently, the series adaptation, Lovecraft Country, Antebellum feels like a much-welcomed addition to the new era of “black horror” films we are beginning to see. What was the deciding factor for you?

When I read the script I felt like I knew what kind of film it was going to be, but once I got a couple more pages in, I was completely blown away by the twist. After reading it, I felt it did such an effective job of connecting the dots of the past, the present, and the future. As it pertains to now, we can’t talk about racial injustices, white supremacy, the prison industrial complex, systemic racism, without talking about chattel slavery and the fact that my ancestors were stolen and forced to come to America and work for free. They stole people with purpose and with vision. They stole nurses, doctors, artists, musicians, authors, writers, brilliant minds who had something to offer the future, and our future has been robbed of that.

When we’re screaming “defund the police” or “ black lives matter” or “abolish the police,” we’re screaming that because we know how policing started. In the south, during the civil war, slave patrols were invented and that was the early institution of policing. Slave patrols were meant to chase down runaway enslaved people. To stop any black person who was trying to cause a revolt. Police were not built on protecting and serving the people, but traumatizing and terrorizing black people. So people have to know that because our history books have whitewashed this entire atrocity.

My number one goal with this film is to connect those dots and remind us that the past is not the past—the past is not dead. Until we confront these things, honestly black people won’t be free.

What do you think sets this story apart from other black horror films we’re seeing right now?

I think we haven’t seen a black woman at the center of these socially conscious, psychological thrillers or horror thrillers. I think that’s important. Black women are carrying the burden on their backs every single day, when you think about Maxine Waters, Angela Rye, Patrice Colliers, and all the women who started Black Lives Matter. These are black women who carry the burden of deconstructing and dismantling white supremacy and systemic racism and I don’t feel like we’ve had a film that takes a look at that. This film [humanizes] black women. I think that we get this narrative [of] “black girl magic” and that black women are the saviors of the movement and are going to save this world. And although we have been forced into these things because this is a mess that we inherited, we shouldn’t have to take on that burden. My hope is that this film will show that black women deserve so much more and at the very least, we deserve peace.

Have you always had an interest in sci-fi and horror? Why do you feel the black community is generally turned off by the horror genre?

I grew up on Freddy Krueger, Michael Myers, Child’s Play—I love the genre. I will say with this particular film, and when I think about what we as a people have gone through, what our ancestors had to endure, and the trauma we are having to relive every single day, I think that people have to do what’s right for their spirit and for their mental health. Every day I ask myself when there’s [a] video of George Floyd, or a video of Elijah McClain, the video of Jacob Blake; when those things are posted, I have to ask myself “should I post this? Do I have a responsibility to spread what happened or am I just traumatizing another black person who has to watch this horrific video?”

In terms of this movie, [it] will trigger. When I was reading the script I was triggered. My responsibility though, as an actor, is to tell the truth and to try to accurately portray scenarios that may not be comfortable so that when, as an audience member, you at least walk out with that information and you do with that what you will.

Is black American history the true American horror story?

I mean, chattel slavery and having our ancestors stolen and forced to work over here is the origin of all the horrific acts that we’re experiencing right now. To me, it is America’s original sin. It is one of the most horrific acts that has happened to us as a people.

Having also done Harriet last year and just in thinking about the number of slave stories we’ve seen in film throughout the years, how important do you think it is for us (as black people) to continue seeing reenactments of slavery? Do you feel there is still some sustained benefit in us reliving this part of our history as a people/collective?

Harriet was an important story to tell. Harriet Tubman is a great American hero and what she was able to accomplish was extraordinary considering her circumstances. I was happy to be a part of that film and I played a character who was not enslaved. [My character] was born free, so as I was going over my lines and getting into character, I didn’t have to live in that world of an enslaved person. I got an opportunity to help other enslaved people and that’s important to history.

I think in general, in Hollywood, we have to diversify our stories. There is a spectrum of important stories that are centered around black folks that have yet to be told, and I welcome that. History is important and I think that history books have whitewashed a lot of what truly happened when our ancestors were enslaved. They make it seem like our lives started in America when slavery happened, and they have to remember that you forced nurses, doctors, musicians, artists, and pillars in the community into a life that they did not ask for, and I think that this film re-contextualizes that narrative and allows you to see us thriving. It allows you to see this character, who is this successful author, who has a family, who is a mother, a best friend, somebody who mattered to the community, someone who put her community before her own life. When you see that and when you see the joy in her eyes and in her spirit, then I think you’ll be able to see not slaves, but enslaved people who had a vision, who had something to offer the world, and you’ll understand what the future was robbed of as a result of them being held against their will.

I hear there’s an original soundtrack as well. Can you tell me about what that process was like and how much you feel music will influence the way we experience this film?

I think the score is the pulse of the heart of this movie. I remember listening to the theme song which was created by two black film composers, Roman GianArthur and [his brother] Nate “Rocket” Wonder. I had the opportunity to work with them in the past and they are just incredible composers. I love that they’re new and fresh and black, and they’re helping support the stories of black people. I was told that they had not even seen any clips from the film, but had just read the script and came up with the music for the film and I just thought that was brilliant.

What’s one thing you hope audiences take away from this film?

This film is honoring black women and honoring the black women who put their lives on the front line every day to protect black lives. This is a film that shows our joy, our celebration, and our pain, and I think that this film is meant to increase dialogue around solutions. It is entertainment, but at the same time, my hope is that when folks who are in a position of power watch this film, they will realize that it should not be [a black woman’s] job to deconstruct and dismantle white supremacy, it should be yours—and I’m speaking specifically to white people. They have to have the necessary conversations and dismantle the racist policies that continue to hold us in bondage.

I think that my job was to shed light on how we cannot get relaxed around this election, because none of this is possible without the lawmakers who perpetuate the racist policies that continue to hold up structures that were rooted in racist policy, like the police. Until we can get to the core root of how we got here truthfully and honestly and keep that dialogue going, I don’t think that our future will see freedom.

I hope people watch this film with family and loved ones. I think people are going to want to hold each other and talk and experience this together. I am sad that we can’t all be in the movie theaters, but I want our people to be safe; and if you can, watch it with someone you love.