Zoe saldana vs nina simone songs

Writing in the New YorkTimes last year, critic A.O. Scott argued that “[w]hat is often missing from” musician biopics “is any real insight into the reason we might be interested in the first place, which is the music.

We might see our idol more or less persuasively impersonated by a hard-working actor, strumming a guitar or noodling at a piano, but the complicated labor of creativity is notoriously hard to show on screen.”

Nina, the new film that launched dozens of think pieces, editorials, and an online petition to stop its production, is no different.

In fact, considering its subject—the revolutionary, provocative Nina Simone—and the rarity with which we see such kinds of films about black female musicians, it likely stands as one of the most egregious examples of how the genre can go wrong.

Through its (white) director, Cynthia Mort, and a drastically made up Zoe Saldana, the long-gestating project blatantly misunderstands the fundamental