Mudbound
2017 · Dee Rees
In the post–World War II South, two families are pitted against a barbaric social hierarchy and an unrelenting landscape as they simultaneously fight the battle at home and the battle abroad.
dir. Dee Rees · 2017
Two families — one Black, one white — work the same unforgiving Mississippi Delta mud in the 1940s, bound by land, debt, and the Jim Crow order that governs every exchange between them; when a son from each returns from World War II, their friendship becomes intolerable to the world around them. Dee Rees, adapting Hillary Jordan's novel, builds the film as a chorus: multiple narrators pass the story between them, and the shifting voiceover becomes a democratic form in itself, insisting that no one family owns this history. Rachel Morrison shoots the Delta in weather and lamplight, all sodden fields and interiors thick with shadow, and her work made her the first woman ever nominated for the cinematography Oscar. Mary J. Blige, nearly unrecognizable and profoundly still, earned two nominations of her own. Released by Netflix in 2017, when streaming prestige was still a contested idea, it argued the case better than any film before it. Rees's epic sweep never loses the granular texture of labor — the film understands that in the Delta, the mud itself is a character with a memory.
Lines of influence
- Days of Heaven (1978) — Néstor Almendros and Haskell Wexler's magic-hour, available-light photography of agrarian toil narrated by a plain-spoken outsider voice is the exact register Morrison and Rees adopt for the Delta fields.
- The Thin Red Line (1998) — Its structure of layered, competing first-person soldier voiceovers—interior monologues that hand off across characters—is the direct model for Mudbound's rotating narrators braiding around the returning WWII vets.
- Killer of Sheep (1977) — Burnett's neorealist, natural-light observation of Black working bodies and unglamorized labor established the LA Rebellion mode of stillness-as-dignity that Rees extends to the sharecropping South.
- Daughters of the Dust (1991) — Arthur Jafa's painterly natural-light exposure specifically calibrated to render dark skin in a Southern landscape is the cinematographic problem Morrison inherits and solves for the muddy Delta light.
- Sounder (1972) — A restrained, unmelodramatic portrait of a Black sharecropping family bound to a landlord's land and debt—the same economic architecture Mudbound builds the Jackson family's fate on.
- Barry Lyndon (1975) — John Alcott's insistence on shooting period interiors at the film stock's low-light limit, refusing artificial fill, is the available-light purism Morrison pushes further on digital sensors.
- The Color Purple (1985) — A literary adaptation that turns a Black woman's epic of the rural South into a multi-decade period drama, modeling the prestige-adaptation lane Rees works from Hillary Jordan's novel.
- Pariah (2011) — Rees's own debut, where Bradford Young's saturated low-light rendering of Black faces taught her the naturalistic-light authorship she carries into Mudbound with Morrison.
- Fruitvale Station (2013) — Shot by Rachel Morrison in the same handheld, available-light documentary register—her intimate naturalism on Black lives is the throughline connecting it directly to Mudbound.
- Black Panther (2018) — Morrison's very next film, where the same DP's Oscar-nominated command of skin tone and natural-source lighting proves the technical method she first fully realized on Mudbound.
- 12 Years a Slave (2013) — Sean Bobbitt's available-light, long-held stillness over Southern period atrocity shares Mudbound's refusal to cut away and its performance of endurance through composure.
- Selma (2014) — Bradford Young photographs the civil-rights South with the same underexposed, sun-through-haze naturalism, the sibling grammar for filming Black skin in Southern light that Morrison practices.
- Moonlight (2016) — James Laxton's expressive natural-light exposure of dark skin and the film's chaptered, handed-off structure parallel Mudbound's multiple-narrator form arriving the same festival moment.
- If Beale Street Could Talk (2018) — A Baldwin adaptation that fuses a Black literary source with drifting first-person voiceover and held, still close-ups—the same marriage of narration and stillness Mudbound performs.
- Roma (2018) — A Netflix-financed, black-and-white-toned period drama of domestic labor built on available-light naturalism and stillness, sharing Mudbound's streaming-prestige and formal patience.
- The Assassination of Jesse James by the Coward Robert Ford (2007) — Roger Deakins's elegiac available-light Americana wedded to literary third-person voiceover narration is the period-lyric mode Rees channels for the Delta.
- Winter's Bone (2010) — Its available-light, near-documentary realism of rural poverty organized around land, kinship, and inescapable debt is the same aesthetic and thematic engine Mudbound runs on.