As Black History Month reached its end, USC’s African American Cinema Society (AACS) honored Black creativity with the “Films Reflecting Ourselves” (F.R.O.) Fest on Feb. 27. The annual film festival has been a joint effort between AACS and USC’s Fisher Museum for nine years. According to AACS co-president Mikayah Lee, the Fisher Museum was looking for ways to attract audiences to their Black History Month exhibits.
“It’s been a beautiful collaboration,” said the film and television production senior, as attendees can watch the films and walk through the exhibit, immersing themselves in Black creativity.
For Jaden Bakerr, a senior in Narrative Studies and AACS co-president, F.R.O. Fest houses tradition and diverse culture.
“F.R.O. Fest is something that proceeds both Mikayah and I,” Bakerr said. His first experience with F.R.O. Fest was as a general member, where “it really showed that Black art is not a monolith.” From viewing to hosting, it has been a full circle moment for many AACS members like Bakerr.
The festival opened with remarks from representatives of the Fisher Museum, followed by Lee and Bakerr. With the 2026 showcase marking the ninth annual F.R.O. Fest, five unique films played and covered topics like identity, grief, family, heritage and more. From master’s students to freshmen, the F.R.O. Fest gave a platform to Black creatives from many backgrounds.
“I Was An Egg Once” by Tatiola Sobomehin
“I Was an Egg Once” showcases how community and heritage impacted Sobomehin’s sense of self. Growing up in East Palo Alto, a predominantly Black, Latino and Polynesian area, Sobomehin said it was, “ingrained in me to always remember my family and to be very vocal about loving who I am.” Through a compilation of family photos and archival footage, “I Was an Egg Once” visually displays the connectivity of life and history.
Sobomehin’s film asks if “anything about me is unique,” as her existence is an accumulation of loved ones she has never even met before. Moreover, Sobomehin poses self-love as an act of cultural acceptance with a quote from her film stating, “by loving yourself, you’re loving the people before you.”
“The Day You Find Your Name” by Dominique R. Draper
Draper’s short film “The Day You Find Your Name” tells the true story of Afeni Shakur, a member of The Black Panther Party and mother of Tupac Shakur. This project came from a trip Draper took to Oakland, the founding city of the Black Panther Party and a site of rich Black history. While driving, he spotted a blue house with a mural painted on the side and text reading, “Women of the Black Panther Party.”
“I’ve never seen a house or space dedicated to Black women,” Draper said.
“The Day You Find Your Name” portrays the underrepresented voices of women within the Black Panther movement. With over 60% of the movement being women, Draper’s film shines a spotlight on the forgotten members of an important political organization. Moreover, “The Day You Find Your Name” shows the value of being authentic to yourself. Viewers are encouraged to reflect on Black history and, as repeatedly mentioned in the film, “remember who you are.”
“The Interview” by Zaria Calhum
Originally created for her film class, “The Interview” captures a relatable element of Black identity. The film follows a young woman’s indecision about her job interview. Does she wear her natural hair or straighten it? “The Interview” explores the struggles of “conforming to those white standards of just bone straight hair,” Calhum said.
“Something very important to me is hair,” with Calhum viewing it as a tool for personal empowerment and self-acceptance. Within the short three-minute duration, Calhum depicts a decision many Black people face, choosing between conformity and authenticity.
“Clucky’s” by Lauryn Bedford
If you have ever worked an overbearing customer service job, “Clucky’s” is for you. Inspired by her own time at Jack in the Box, Bedford wrote with a focus on Black people in periods of transition. From having to learn Spanish to dealing with the most obscure customers, Bedford investigates the gray area between who you once were and who you will become.
“When you’re in these transitioning periods, there are people who don’t know you and don’t care to know you,” Bedford said.
Besides the high tensions of a fast food restaurant, Bedford emphasizes how crucial it is to remain resilient, saying, “You have to find these little pockets of community.” Whether it be a funny inside joke or bonding with a new trainee, solidarity is possible during uncertainty. Additionally, “Clucky’s” acknowledges “the amount of work that a lot of marginalized people have to do in order to make the greater community happy,” Bedford stated. Whether you work in fast food or just consume it, “Clucky’s” reminds us to stay positive during hardship through loud laughs and big smiles.
“See You, Soon” by Jay Pendarvis Jr.
“When you lose somebody, you always feel like they’re kind of there.” Pendarvis said, aiming to display this feeling on screen by writing and directing “See You, Soon.” Inspired by a school shooting at his college, the University of Virginia, Pendarvis made grief the foundational emotion of his short film.
Furthermore, Pendarvis uses visual storytelling to bring awareness to gun violence. One example seen is the newspaper clippings showing the Black men who lost their lives to gun violence. Tackling topics of grief, memory and loss, “See You, Soon” brings light to the struggles of losing a loved one.
Following the screenings was a panel of filmmakers and a social mixer. F.R.O. Fest encourages nuanced Black narratives, highlighting how important representation is.
“When Black people first started to become represented in film and television, it was stereotypical and in a negative light,” Lee said.
Being visually represented is one step, but AACS aims for representation beyond the screen. “I actually didn’t start seeing people who look like me on set until I joined AACS,” Calhum said, who discovered her passion for producing through AACS.
When asked about the future of Black creativity, AACS executives want to continue breaking expectations. “Being Black is not so rigid anymore,” Bakerr said. “[I am] excited about new voices being able to make their own films that are completely unique and radical.”
For Lee, the future of Black cinema revolves around hope, saying it is “important for young black people and all young minorities to see the brightest future they can possibly have” and that “it doesn’t always have to be about the struggle.”
Additionally, AACS executives wish for more Black experiences to make mainstream media. “The future of Black artistry looks like freely expressing ourselves,” Lee said. “Showing us in every sort of genre.”
For many of the AACS creatives their Black identity and creative efforts are intertwined. “Whatever I do, I think it qualifies as Black art just because I am a Black person,” Bakerr said.
For Lee and Bakerr, their Black identity is an asset to their creative works.
“Art is a reflection of who we are,” Lee said. “As a Black artist, I’m thinking first about the human experience.” Instead of having strict expectations of what “Black art” looks like, Lee and Bakerr wish for an open perspective towards the creative diversity amongst the Black community.
Lastly, AACS board members are not stopping at F.R.O. Fest, but making it their mission to ensure Black artistry continues to thrive. The Black community made many waves of success through art, but Calhum’s goal is to “make more waves.”
“There’s still so much more to do, and I want to be a part of that,” Calhum said.