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In all respects, this is an intelligent, demanding film that reaches for a new understanding of the scope of the drug problem in the U. Here, as in Requiem, the primary portrait of the female drug user is of a wealthy, intelligent, overachieving 16-year-old, Caroline Wakefield (played by Erika Christensen), whose own recreational drug use is introduced early in the film.Caroline is none other than the daughter of the nation's newly appointed Drug Czar.

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Unsurprisingly, Harry's plan unravels, and the lives of the characters come gruesomely undone at a nauseatingly frantic pace.

Nominated for five Academy Awards, Steven Soderbergh's Traffic is infinitely more complex and far-reaching in its insights into the truly borderless reach of the drug war.

I swear a trap nigga wit little recognition will get more pussy den a millionare.

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(An empirical study presented at the 1999 American Psychological Association convention in Boston confirmed that African Americans themselves strongly objected to the representation of Black sexuality in films like Booty Call)What bears particular mention with both Requiem and Traffic is not only how these movies manage to perpetuate the damaging stereotype of crass, uber-sexual African American men, but also how they highlight the ease with which filmmakers slip into a mindframe -- a misguided mystique -- surrounding Black-on-White sex.

There's the component of it that wants to experience it with porn-style-voyeurism: "Show us the big, powerful Black daddies subdue those angelic-looking, pale-skinned girls."It's a dark fantasy, if you will; perhaps a subliminal projection of the way the filmmakers might imagine that interracial sex (at least in this particular ethnic combination and under these kinds of circumstances) would be like.For all of Requiem's visual appeal and Traffic's much more weighty overall impact, both movies manage to hang on to the stubborn and dangerously entrenched view that African- American male drug dealers await the sexual availability and servitude of Euro-American female dope addicts.The sorry plight of the drug addict has long since made for inviting and scintillating subject matter in Hollywood cinema.Dating back to the early days of American cinema -- most notably with D. Griffith's Birth of a Nation in 1915 -- there has often been a harsh, oversexed, white-flesh-desiring component to the portrayal of African American male sexuality on screen.From that point forward, from the 1970s-era Blaxploitation movies to more recent pictures written and/or directed by Euro-Americans and some African Americans -- films including Booty Call and The Player's Club -- have continued to present African American men in an entirely hypersexualized manner.Insofar as this kind of dominant/submissive interracial sexual scenario might be a turn-on to some, it's also represented as a total and egregious violation of the females.

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