‘Digital Blackface’ film ‘Black Lives Matter’ is a new wave of cinema: Is it a film that deserves to be embraced?

“Digital BlackFace” is the title of a new documentary film about the making of a film made with the same color palette as the film itself, an act that has become increasingly common in Hollywood, and which critics are calling “digital blackness” or “digital racism.”

The film, “Black Lives Matters,” premiered at the 2016 Sundance Film Festival and was nominated for Best Documentary Short for best documentary short, with the film winning the Oscar for Best Short Documentary at the Golden Globes on Sunday.

The film was directed by the British filmmaker Daniel Deakins, whose previous films include the documentary “Mogadishu: The Forgotten City” and “The Boy Who Fell to Earth.”

The “Digital Blacks” documentary, directed by Deakens, focuses on the making and marketing of the film “Black People Matter,” which has become a political statement, an indictment, and a call to action, with its depiction of police brutality and the legacy of slavery.

“Black Lives,” is also a portrait of African-American youth who have become “digital blacks,” in the film’s words, because of the media’s obsession with blackness and the fact that, even today, black people are not included in the political conversation in the United States, and are often marginalized by the country’s mainstream media.

“Black lives matter” is about the fact, the film says, that there is a movement to “stop police violence,” and “to end police brutality.”

The film is about what it means to be a “digital Blackface,” Deakis said in an interview with The Washington Post.

The film is set in the city of Ferguson, Missouri, and the documentary begins with the shooting of unarmed teen Michael Brown by a white police officer on Aug. 9, 2014, after Brown was walking down the street with a small black friend in Ferguson, a predominantly African-Americans neighborhood.

Brown was shot after he allegedly resisted arrest, and he died later at a nearby hospital.

The shooting led to a national outcry and protests in the U.S. that have been ongoing since.

The documentary, which premiered at Sundance in January, was nominated in two categories: Best Documental Short for Best documentary short and Best Short Film for Best Film Feature at the prestigious film festival.

“We wanted to look at the intersection of race and the media and how we can change the conversation,” Deaks told The Washington Times in an email interview.

“The idea of Black Lives Matter is about a new kind of cinema, where we try to use film as a tool to push the limits of how we’re represented in the media.”

“Digital Blackness” has become an ongoing project, Deakinis said, as he and his team have worked on the film for a number of years.

“A lot of times, you don’t know who is going to be involved in the production of a piece of work, so we started looking at some people, who were already involved in other projects,” Deakin said.

“And we found that there was a great group of people who are really interested in the project and who would be able to work together.”

The project was born out of Deakines desire to look into the “digital space” of race in the black community, and to ask the questions that were raised about the use of color in the documentary film, Deakin explained.

“There’s a lot of discussion around the way color is used in a film.

A lot of films are about the film as being about race, or it’s about the black experience, or they’re about a person of color.

So, what we wanted to do was look at how color is being used in films that are not really addressing the issues that they’re trying to address.””

The film was inspired by conversations I was having with people who were trying to make films that would really address these issues.

And I realised that they were talking about a digital blackness, which I don’t think is a term that is used enough, and I thought that would be interesting,” Deakhins said.

Deakins and his production company “DigitalBlackness” produced the film, which was filmed over the course of about a year.

He has a particular interest in the digital black movement, because it “was something I was interested in seeing in the real world,” he said.

He said that while he was also interested in exploring the issues of digital blacking, “it was more about the real-world issues.”

“It was really about a very personal, real-life thing that I’ve been dealing with for the last six years,” Deekins said, referring to the years that he has been documenting his own personal struggles as an African-american.

“I was really struggling with my own personal issues of identity and identity politics.