On October 9, The New York Film Festival hosted the US premiere of “If Beale Street Could Talk” at the historic Apollo Theater in Harlem.

This marked the first time that the festival presented a screening at the theater. The film was written and directed by Barry Jenkins and based on the classic novel by James Baldwin. Baldwin was born at Harlem Hospital on August 2, 1924. He spent much time throughout his childhood at local libraries in the neighborhood. Beale Street is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child to term. The film was shot almost entirely in New York City in the fall of 2017 with production taking place in various Harlem locations.

Check our exclusive red carpet interviews below:

Aunjanue Ellis plays Mrs. Hunt. 

The Knockturnal: Your character has an intense scene! Speak about being in this film.

Aunjanue Ellis: Humbled, because it’s James Baldwin … because of the great people that I worked with … I love a challenge. I love it. The harder it is, the more I run to it.

The Knockturnal: Your character represents so many people from that era. Talk about the evolution of where we’ve come since then, and why it’s important to show where we came from?

Aunjanue Ellis: I think that, unfortunately, these sort of very conservative ideas are kind of, in a way ruining us. She sort of represents that, but she was also a mother who just loved her son and didn’t want to let go. It was hard for her to let go, and everything was pulling him away: his girlfriend, jail, all of it was pulling him away and she didn’t know what to do.

The Knockturnal: Talk a little bit about working with Barry and what that process was like.

Aunjanue Ellis: He was very open to our trying things and doing what we wanted, what we felt was right, and then he’d come in and tweak here and there. He was really open, and I appreciated that.

Dominique Thorne plays Sheila Hunt.

The Knockturnal: Speak about immersing yourself in that time period. 

Dominique Thorne: I think that transformation was definitely one of kind and I’m very grateful that I was able to do it. How often do you get to truly and authentically absorb that time period into your body, not only the time period but then what it means to interact within a family setting in that time period? I’m confident that the norms just between how you interact with your parents, your siblings, from now to then was totally different. It was definitely fun to kind of time travel with that scene.

The Knockturnal: The theme of family is so important in this film. Talk about the family dynamic.

Dominique Thorne: As you said, I definitely think that family is the number one theme in this movie. You see that especially in the way that Tish’s parents kind of guide her and provide that support for her in what is a very unexpected event in her life, but I think family also plays a big role with our characters, the Hunts, in the way that they receive that news. You can see very different family dynamics. It presents a real dichotomy in dealing with that pregnancy and what that means for that child’s family situation. Family is definitely central. You can definitely see how important it is once Fonny is imprisoned and which family really steps up to provide the support during that time, I think it’s super interesting.

The Knockturnal: Speaking of Fonny, the movie touches on social injustice. Talk about that.

Dominique Thorne: Where do we start? I think one of the beautiful things about this film, not only the film but the novel, is how strong that message rings true today, considering when it was written. The fact that it does ring true so strong today, I think, is a little sad but is definitely necessary to have films that portray that theme of injustice and continue to let society know that this is a thing that is still happening, and to never let us really close our eyes to it. I think films like this that show or shed light on the injustice while still pairing it with the behind the scenes view, so yes, there is this person that’s being wronged, but look at his family, look at where he comes from. It’s so much bigger than the news headline that you see of someone going to jail and I think that’s what makes this story in particular so beautiful because they really do bring you into that family structure and bring you into that person’s life before showing you the crooked system that they exist within.

Diego Luna plays Pedrocito.

The Knockturnal: What would you serve up at a restaurant of your own, if you had the chance?

Diego Luna: Even though I am Mexican, I am obsessed now with cooking rices, and Pedrocito brings a Piaya to the table, and yes, I would probably do a rice, and ceviche, and I love cooking chilaquiles, that tells you that I have been so many mornings hung over, thinking “shit, how do I solve this?” And chilaquiles are the best.

The Knockturnal: Your character shows the importance of friendship. Can you speak about that?

Diego Luna: I think this character reminds you how important that hug is, that warmth when you need it. These days it’s all about messaging, it’s all about fucking emojis and virtual shit. It’s important to remind ourselves that food, hugs, time, listening is important. To be there for those who we care about. This character is all about that warmth.

The Knockturnal: How was working with Barry on this?

Diego Luna: When you are doing it, you don’t feel how important it is … because everything is so smooth and easygoing, the set is so silent, but in a good way. No silence for fear, no silence from “shit, the director is  gonna kick me out if I talk.” Silence from understanding and a kind of balance. I always say, for me, sometimes what I don’t like about films is this hierarchical structure where someone is on top and there’s so many down there waiting for the news from those who are above. With Barry, it’s always a very horizontal structure … where everyone has a chance to bring what they believe in, what they think can be good for the project, where there’s time for everyone. I like film when it’s like that because it reminds you that, not just film should be like that, everything in life should be like that.

The film hits theaters exclusively in NYC on November 30. It will expand on December 7.