Charles Mudede reviews:

How can we understand Melvin Van Peebles’s body of work, and more precisely, his latest film Confessionsofa Ex-Doofus-Itchy Footed Mutha, a rambling and dense story about a young man (played by a 77-year-old Van Peebles) who runs way from home and discovers the whole crazy world? His mission in life has been to make films that visually reflect the black imagination, the black sensibility. This is why his movies seem so strange, outrageous, and surreal. Confessionsofa Ex-Doofus-Itchy Footed Mutha, for example, makes almost no compromises to white cinematic coding and narrative organization. The editing, acting, and music are as black as possible. But what can we mean by “black filmmaking”? Here is one possibility: In the essay “Black Visual Intonation," the black American film critic and cinematographer Arthur Jafa (he photographed Daughters of the Dust and Crooklyn) wrote that he was "developing an idea that [he calls] Black visual intonation (BVI)." "What it consists of," he suggested, “is the use of irregular, nontempered (nonmetronomic) camera rates and frame replication to prompt filmic movement to function in a manner that approximates Black vocal intonation." I think this comes close to Van Peebles project, his search for the blackest of black cinema. If you were to transform his movies into pure music, it would sound like psychedelic funk, mushroom blues.