The Whitby Theater at the standout Whitby Hotel was the setting for a special recent screening of critical darling “Clemency,” starring Alfre Woodard and Aldis Hodge. The film, which won the Grand Jury Prize at the last Sundance Film Festival and received numerous accolades since, will be released later this month. Walking the red carpet were Hodge and Woodward as well as co-star Alex Castillo, producer Bronwyn Cornelius, and director Chinonye Chukwu.
The film, as described by its promotional materials, is a character study of a conflicted, by-the-book prison warden (Woodward) who is in charge of the impending execution of Anthony Woods (Hodge). Though she remains steadfastly committed to her job and the system within which it takes place, “years of carrying out death row executions have taken a toll on prison warden, Bernadine Williams.”
Oscar nominee Woodard stated that she would have taken this role if it came along, “Ten, 15, 20 years ago.” She was heartened, however, by the fact that the film was made at a time when the subject is part of the zeitgeist. “It’s great that we’re doing this when the majority of Americans are more enlightened about this subject.”
Woodard, who has received broad critical acclaim for her role as Bernadine Williams, did a lot of preparation for the role in the form of going out and talking to real-life Bernadines. In “Clemency,” Woodard goes into a gut-wrenching, in-depth portrayal of the harrowing effects on Bernadine’s marriage as well as at the job itself.
Wearing a gorgeous ensemble by Badgley Mischka Woodward explained she learned about the lesser-known aspects of the prison system. “I had to learn everything about it. We met with wardens, a few condemned men. All of the wardens we met were Black women,” she said. “I had to be able to tell a story that left myself behind completely.”
Saying he “felt elated every day” while shooting “Clemency,” Hodge spent a great deal of time on the red carpet with press and fans in the sumptuously designed and art-rich Whitby’s Araminta Room which was just a few feet away from the theater and event bar.
Hodge, who came to popularity playing Noah in the seminal period drama “Underground,” was dressed head to toe in black John Varvatos. Asked if he hoped a film like this could have an impact on people getting involved around the issue of criminal justice, he said, “Hopefully we can be part of eradicating this ‘disease’ which is what I call capital punishment. There are so many people who are complicit in the system but they don’t really know they are.” Though he emphasized that the film doesn’t preach any specific point of view, Hodge has witnessed the impact “Clemency” has already had. “People have come out of screenings saying, ‘I didn’t know it was like this. How can I be active? What can I do?’”
Like Hodge, Alex Castillo, wearing a fitted black Calvin Klein suit, also plays a death row inmate, Victor Jimenez. Castillo, who has one of the most gripping sequences in “Clemency,” discussed what he learned while researching and playing the character. He said, “Everything leading up to what happens to my character made me realize the inconsistency in the system. In one county in one state you can end up on death row, the same crime gets life in prison in another one, and you can get off on a technicality in another.” His eyes were also opened about the process away from the accused, prosecutors and defense lawyers. “I had no idea of the impact,” he said incredulously, “on the wardens, the guardians, the medical professionals involved.” Castillo is also really pleased about how director Chukwu decided to handle these depictions. “The movie doesn’t lead you in any direction. It just gives an unfiltered look at what happens in prison.”
Producer Bronwyn Cornelius, who will be working with Chukwu as executive producer on her upcoming film, “A Taste of Power” (based on the book by former Black Panther, Elaine Brown), revealed she saw herself as an ally to women of color. “Overall,” she said, “I absolutely see myself as a champion of female filmmakers and of diverse voices in general. I’m aware that as a white woman I have certain privileges or certain access that others might not. It’s the responsibility of all of us to work together and band together to create change.”
About Chukwu, for whom Cornelius’ admiration is very evident, she said, “Chinonye has a wonderful sense of self and confidence about herself and the power of her stories that she is looking to tell.” Part of the authenticity Chukwu brought to the screen was hard-fought. Cornelius shared hat Chukwu spent years doing research, which included, “Meeting with wardens, corrections officers, lawyers and death row inmates. Frankly, I think more storytellers would benefit by having that sort of dedication.”
Director Chukwu glided onto the red carpet in a show-stopping red satin gown with a plunging neckline and thigh-high slit. She revealed that it was an actual execution that motivated her to be so relentless in her pursuit of this story. “It was Troy Davis,” she said emphatically when asked. “He was executed on September 21, 2011, and that was the moment I knew I needed to do this. I became really intrigued with the question of what must it be like for your livelihood to be tied to the taking of people’s lives.”