This article is part of a series in celebration of a new, dynamic voice in Black America: the NUBIANO Exchange. Brace yourself for the NUBIANO experience. 
by maLana t.
When a Christian film depicting the life of Jesus surfaces, more often than not we are presented with a Messiah of European origin: his hair is long, his skin is pale, and he bears no resemblance to the description of scriptural history. But in Color of the Cross, director Jean-Claude La Marre presents a savior of darker descent, a Black Jesus.
But is this portrayal any more accurate than what we are used to? Yes and no. The Jesus character himself, played by La Marre, is a Black man. His hair is as the wool spoken of in Daniel’s vision (Daniel 7:9), and his skin is sun-kissed. In this manner, the person of Jesus reflects the few biblical passages that refer to what he may possibly have looked like. But that is the only near accuracy the film portrays.
In La Marre’s vision, Jesus the Christ, referred to by his Aramaic title of Joshua, is persecuted and crucified, not because he is claiming to be the Messiah, but because he is a Black man claiming to be the Messiah. This theme of race overpowers any spiritual message the film might have had, as the inaccuracy of it simply cannot be overlooked. Often denoted as the “Black Jew,” it becomes clear that the film is less about the trials of Jesus and more about the imagined implications of race.
As the film opens we are presented with a diversity of races and skin colors. However, this is not done to add variety to the cast and cultures of the times, but to highlight racial division. Jesus, his brother James, and Judas are obviously Black, while the rest of the disciples resemble those who have played their parts in the past. The Sadducees and Pharisees are depicted in a more traditional Jewish likeness. In short, there is such a motley of races that it’s hard to believe that any of these individuals derive from the same culture.
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