Céline Roustan
In the city of New Orleans, a distinctive subculture thrives within the Mardi Gras tradition – the Mardi Gras Indians – a community that honors Native American ancestry during the carnival celebration. In Wild Magnolias, director Alexandra Kern invites us to the preparations behind the festivities, allowing us to see how Indians get ready for the event and introducing us Bo Dollis Jr, a leader within the community, who shares its principles and values with a new generation.
“I was captured by their devotion and the year-long process of commitment and sacrifice”
Kern was first introduced to the Mardi Gras Indian subculture, its craftsmanship, and the closely-knit community, by her mother, a costume designer who used to collaborate with them. “Having witnessed their work so intimately at a young age, I was captured by their devotion and the year-long process of commitment and sacrifice”, she confessed. The way the film is structured very much echoes that, by allowing its audience to slowly discover both the day-to-day life of a Mardi Gras Indian and the intricate know-how involved in crafting their suits.
In addition to offering a glimpse into the culture in general, Kern dedicates time to introducing the individual members of the community, granting us meaningful moments with them as they discuss various topics. This approach gives the film an immersive and engaging quality, allowing the audience to feel like we are part of the film. As viewers, we get to know all the different participants, with a particular focus on the central figure, Bo Dollis Jr.
Barber Bo Dollis Jr. (L) – A Mardi Gras Indian devoted to teaching his proteges the virtues of the New Orleans subculture.
The film unfolds with dual facets. As firstly, it offers insight into the beauty and the ancestral roots of the Mardi Gras Indians culture and how it is being celebrated today. Before introducing us to the transmission of these values from the older generations to the youth. As we witness Bo Dollis Jr. teaching his mentee, not only the required skills necessary to become a Mardi Gras Indian, but also a strong set of values (historical and societal), it’s evident how his presence as a role model positively influences their lives. While the film shows how those traditions are passed down from one generation to the next, it also proves the importance of the tradition within the community and particularly in the development of these young men.
As a celebration of such a flamboyant culture, the film had to have a distinct aesthetic and Kern achieves this through a subtle production that puts the focus on the craftsmanship and flair of the Mardi Gras Indians. The cinematography and camera movements, shot by Kern and Eric Vera, are all very gentle, and bring to the screen the beauty of the traditions and the participants with great sensitivity. While the score is very discreet, it adds an extra layer of beauty to the short, without manufacturing unnecessary drama. Listening to that piano, you can really feel the depth and history of the narrative.
With its online premiere on S/W, Wild Magnolias made its way around the festival circuit in the 2022/23 season, Kern is now preparing to release her latest short doc Stud Country. Co-directed and co-produced with Lina Abascal, the film is about a line dancing event in Los Angeles that is continuing the (under-documented) 50-year history of queer line dancing in the city. Kern has also started filming my next short documentary, which follows a 70-year-old paraplegic ski instructor who lost his leg in an avalanche at the age of 20.