“An Exploration of Whiteness and the Flattering Illusions of History”: Suzannah Herbert on her Tribeca-Winning Natchez

Suzannah Herbert’s Natchez is a multilayered, character-driven look at the titular town in Mississippi (U.S.), which is wholly dependent on a declining industry. In this case, the manufacturing is of whitewashed tales that have turned into hardened history. For generations, Natchez has been financially dependent on its antebellum tourism industry, in which hoop-skirted docents in grand mansions regale visitors with, as one knowing character puts it, a “Southern construct” that’s “used to sell tickets.” Unfortunately for Natchez’s bottom line, though fortunately for its Black residents and others eager to reckon with the past, fewer and fewer folks these days seem to be buying the Confederate dream. The film is a sensitive, sympathetic portrayal of a Gone with the Wind-cinematic city that initially made the Memphis-born Herbert feel “uncomfortable to the point of wanting to look away.” Just prior to the film’s Tribeca Documentary Competition premiere, Documentary caught up with Herbert (Wrestle) to learn all about her stellar sophomore feature. Last week, Tribeca announced that Natchez won not only the best documentary feature prize but also special jury awards for cinematography (to Noah Collier) and editing (Pablo Proenza).

To read my interview visit Documentary magazine.