Charles Burnett’s “Killer of Sheep”: A Tender ‍Look at Black Life

‍ Updated June ​15, 2025
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Charles​ Burnett’s early cinematic journey ⁢included “69 Pickup,” a short film exploring interracial dynamics and
⁤ the Black male intellectual experience. Though a minor work,it showcased Burnett’s emerging style,focusing ​on
⁣ ⁣ the human form amidst difficult⁣ circumstances. This⁤ exploration‌ of ⁣Black life laid the groundwork‌ for​ his
⁤ ‍ ⁣ ⁣⁣ ⁤ later, more celebrated⁢ works.

Oscar Micheaux,a pioneer‍ of ⁢race pictures,predates⁢ the ​Rebellion movement,yet Burnett hadn’t seen Micheaux’s
⁣ work until​ after creating “Killer of Sheep.” Despite this, “Killer of Sheep” has profoundly influenced Black
‌ ​ artists across various mediums. Its impact is so ⁣pervasive that many are familiar wiht its⁤ imagery, such ​as the
⁣ ‍ cover of Mos def’s ⁢“The ⁣Ecstatic,”⁤ without⁢ having seen the film itself.

“Killer​ of Sheep” ‌was filmed⁢ over a year, during weekends when the nonprofessional actors where available.
⁣ ⁣ Burnett often compensated them with gratitude⁣ or beer.‌ Some scenes, like ⁢the comedic sequence involving ​a car
⁤ engine falling off a pickup truck, were drawn ⁣from​ Burnett’s⁣ own experiences.⁢ Barry Jenkins, a filmmaker and
admirer of Burnett, noted the contrast between the carefree abandon of⁤ children in the film and the burdens
⁢ ⁢ weighing down the adults.

Julie Dash, director of “Daughters of the Dust” ⁢and a former assistant⁣ director for Burnett, remarked on the
‍ tenderness of “Killer of Sheep,” suggesting it felt like a woman ⁤had directed it. Burnett’s portrayal of ‌women,
especially Kaycee Moore’s character, defies stereotypes, presenting ‌them as complex individuals with their own
desires.⁤ moore’s performance, reminiscent of Cicely Tyson’s‌ strength, captures a‌ humanity often denied to ‌Black
women on screen.

“The first time I saw ‘Killer of⁣ Sheep,’ . .‌ . I just assumed a woman made ⁤it, because it is so‌ tender.”

— Julie Dash, director

Winning the Fipresci‍ Prize at the 1981 Berlin ⁢International Film Festival ⁤brought⁢ Burnett international
⁢ ⁤ recognition. However,⁣ this⁣ acclaim also created challenges. ‌Burnett ‍noted that while ‍people recognized ‌him as an
​ ‍ artist, they were less likely to offer ‍him work.

Following ‍the festival win, Burnett received a ​grant from Germany to produce “My Brother’s Wedding,”⁤ a film he
​ described as the “photonegative” ​of “Killer of Sheep.” While comedic on the surface,it delves‌ into deeper
tragedies. The film explores themes of loyalty and class through the character of Pierce, set ⁢against ‍the
⁢ ⁣ ​ backdrop of South ‌Central Los Angeles.

post-production of “My Brother’s Wedding” was fraught​ with difficulties, including⁢ an editor’s mental health
‌ ​ ⁢ crisis⁢ and an actor leaving before filming wrapped. An unfinished​ cut ⁤was screened ​at a festival in 1984,
​​ leading to negative ​reviews and hindering Burnett’s career​ momentum.

The restoration of “Killer of Sheep” prompted reflection on Burnett’s career, marked by both critical ⁣acclaim
​ and struggles to finance and release ​his projects. ‍Despite receiving a MacArthur “genius” grant in 1988,​ Burnett
⁣ remained an underseen and unsung figure ⁤in ‌American cinema.

lisa ‌Kennedy, a Black film and theatre critic, likened Burnett ⁤to a literary bard,​ comparing him to Toni
​Morrison‍ and August Wilson ‍rather than his Black Hollywood ​contemporaries. This highlighted⁣ the ⁤introspective and
​ subdued nature ⁣of Burnett’s work, which ‌diverged from prevailing trends.

What’s next

The restored “Killer⁣ of ⁤Sheep” continues to be screened,‍ offering new audiences a chance to experience Burnett’s
⁢ ‍tender and insightful⁣ portrayal of Black life.Its enduring influence ‍ensures its place in cinematic ⁣history,
‌ inspiring future generations of filmmakers.