In a cinematic landscape often dominated by spectacle and formulaic narratives, RaMell Ross’ films present an alternative—intimate, poetic and reflective. His latest project, “Nickel Boys,” adapts Colson Whitehead’s Pulitzer-winning novel of the same name, offering a reinterpretation of storytelling conventions.
Ross described the adaptation as an “experiential monument,” aiming to evoke a sense of direct engagement with history. The film does not merely recount events but invites viewers to engage emotionally and intellectually, encouraging reflection on broader societal issues.
The film is a cinematic tribute to the real-life victims of the Arthur G. Dozier School for Boys, with Ross adapting Whitehead’s account through his unique storytelling approach. Set in Jim Crow-era Florida, the story follows two Black teenagers navigating the horrors of an abusive reform school that masks its dark secrets behind a facade of discipline.
With the help of actors Ethan Herisse and Brandon Wilson in the lead roles of Elwood and Turner, the film captures the resilience of its characters while exposing the systemic injustices of the time.
“Nickel Boys” has captivated not only audiences but critics too, garnering five Critics’ Choice nominations, a National Society of Film Critics nomination and a Golden Globe nomination.
From his 2019 Oscar-nominated documentary, “Hale County This Morning, This Evening,” to “Nickel Boys,” Ross consistently employs first-person perspectives and intimate cinematography to involve viewers in the worlds he creates. Reflecting on his approach, Ross explained he does not believe in a singular method for effective storytelling.
“I think how this story is told is a response to how stories are told, specifically in cinema, specifically in relationship to people of color and stories around struggle and struggle that includes violence,” Ross said.
Films focusing on the experiences of minorities often center on themes of suffering, sometimes in ways that simplify or exploit these narratives. Ross’ work offers a different approach, portraying struggle and violence with intentionality and depth, rather than a defining element of the story.
This perspective is reflected in Ross’ distinctive cinematography style. He approaches the camera not just as a tool but as an extension of his creative vision.
“I think there’s nothing more interesting for me at this point than telling stories from the actual imagined perspective of the characters, kind of making the camera an organ, bringing it into one’s body,” Ross said. “Trying to use the camera as an extension of consciousness because it seems like that can contribute to the types of storytelling that you’re asking me to be reflective on, and that process just opens up new knowledge production.”
Cinematographer Jomo Fray described his experience working with Ross for the first time in an interview. He appreciated the opportunity to talk about the details of an establishing shot.
“Working with someone like RaMell who is so powerful in a conceptual sense, is like all of a sudden you have to question every aspect of the filmmaking process,” Fray said.
This emphasis on meticulousness that Ross brought through his directing only increased the impact of the first-person perspective in the film.
After reading Whitehead’s novel, Ross became interested in adapting the story using a first-person lens to bring the characters to life.
“Colson’s narrative is so familiar because it’s the young Black kid who has a lot of promise, gets in trouble accidentally and his life is ruined,” Ross said. “It seemed like an opportunity to explore that through poetic imagery, as opposed to through illustrator imagery.”
Symbols and omens play a significant role in “Nickel Boys” and Ross’ broader body of work. He uses these elements to encourage deeper audience engagement with the narrative’s layers. For Ross, symbolism operates on multiple levels, shaped by cultural context and individual interpretation.
“A symbol is only there if you see it, or is it there, even if you don’t see it?” Ross said.
He explores how cultural upbringing and personal beliefs influence what individuals identify as symbolic or foreshadowing. Ross further elaborates that the ambiguity of symbols reflects the complexity of the real world. This approach mirrors the nuanced experience of being both an insider and outsider, providing depth to the narrative.
“An omen is an omen because of what you know,” he said. “The more you know, the more you see, and the less you know, the less you see.”
By integrating layered visuals, subtle imagery and archival footage, Ross prompts viewers to consider their own roles in interpreting the story.
“Those types of omens are just a way to sort of play with a person’s participation in the narrative,” he said.
Despite the first-person perspective’s effectiveness, Ross does not see it as inherently superior to other methods of storytelling. Instead, he views it as a tool for audience engagement.
“History becomes part of the cells, it becomes part of your biology, and it becomes something you almost feel like you can speak to because you were almost there,” Ross said, emphasizing how this perspective enables viewers to confront systemic injustices depicted in the narrative. Ross compares his filmmaking process to life in this way.
For Ross, directing “Nickel Boys” required balancing his creative approach with the emotional weight of the story. Drawing from his experience, Ross adopted a “fractured process” of storytelling to avoid being overwhelmed by the subject matter’s intensity.
This focused approach allowed Ross to create a film that stands apart from Whitehead’s novel while honoring its themes and the historical context of the Dozier School. He concentrated on exploring narrative nuances, aiming to craft a cinematic work distinct from the book while preserving its core message.
“I’d love for the film to be able to give someone that type of ineffable moment inside the context of these characters’ lives,” Ross said. “Because I think if that’s the case, then you’re having proximity to the history and the Dozier school boys, that is one that is truer, that’s less conceptual, it’s more experiential.”
Copy edited by Anijah Franklin
