With ‘A Wrinkle in Time,’ director Ava DuVernay merges sci-fi’s embrace of the Other with her own vision for a better, more inclusive future.
the redwood forests of Northern California, it gets cold. Not wrap-yourself-in-furs cold—we’re still talking 51 degrees—but the kind of cold that demands layers, lest it sink into your bones. Nevertheless, in November 2016, when I visited her movie set near Eureka, director Ava DuVernay was coatless. Just a thermal with a cotton shirt over it, jeans, and a knit hat.
“I don’t know if you’ve noticed, but every time they have to have their jackets off, she takes her jacket off,” producer Jim Whitaker whispered to me as DuVernay called “action!” in the distance. “This is so typical.” Whitaker, of course, is supposed to say things like this. And DuVernay, a former Hollywood publicist skilled in sending a message, knows which notes to hit.
is the story of a young girl named Meg Murry on a mission to save her scientist father, who has been taken prisoner by a dark force in the universe intent on crushing free thought and free will. Along the way she’s assisted by her classmate Calvin O’Keefe, brother Charles Wallace, and three celestial beings—Mrs. Who, Mrs. Which, and Mrs. Whatsit—who help her jump, or tesser, through space-time.
DuVernay isn’t known as a genre director particularly. Her movies and TV shows have been firmly grounded in race, power, politics, and family narratives. But her overall project, building a better world for people of color, doesn’t so much overlap as interleave with one of science fiction’s overall projects: world-building. Sci-fi has always been as much an exercise in thought experimentation as an arena for spectacle, for rocket ships and ray guns.
In the most narrowly defined Western canon, the fascist overlords of dystopian states get challenged by people of the land, farmboys who believe in and benefit from deeper cultural ideals. Science fiction can shake that narrative like a snow globe. It makes room for underdogs and Others. It’s a genre where people can build futures, alternate realities, and then press “play” to see how they work out. DuVernay sees that potential.
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