Nana
When filmmaker David Fortune graduated from film school eight years ago, he was greeted by the harsh, unvarnished reality of the modern independent film industry. Like many young directors, he possessed a vision, a degree, and a portfolio of early work, yet he found himself navigating a labyrinth of "gatekeepers" who were often unwilling to open the door to fresh, diverse voices. Today, that journey culminates in the release of his feature film, Color Book, which debuts on Netflix and in limited theatrical release this Juneteenth.
The film, a poignant, black-and-white exploration of fatherhood, grief, and the Black American experience, is more than just a debut; it is a testament to the persistence required to survive in a volatile entertainment landscape where funding is scarce and traditional paths to production are increasingly narrow.
A Chronology of Perseverance: Navigating the Incubator System
Fortune’s path to the screen was not a traditional studio greenlight. It was a series of incremental victories built upon the backs of nonprofit fellowships, corporate-sponsored grants, and industry incubators.
The timeline of his ascent reveals the staggering amount of effort required to get a singular vision off the ground:
- 2017–2019: Shortly after his graduation from Loyola Marymount University, Fortune was selected for the Village Roadshow Emerging Talent Program, which awarded him a $10,000 grant. During this period, he also tapped into the ViacomCBS ViewFinders Directors Program and the Hillman Grad/Indeed Rising Voices Program, organizations that provided the essential capital needed to produce his initial short films.
- 2022: A significant milestone occurred when Fortune entered the Ghetto Film School via the Netflix Content Creator’s Program. Over six months, he utilized a $25,000 grant to produce Us, a black-and-white short film centering on a father teaching his son—who has Down Syndrome—how to play baseball.
- 2023: Building on the success of Us, Fortune was tapped for Film Independent’s Amplifier Fellowship, backed by Netflix’s Fund for Creative Equity. This $30,000 grant allowed him to transition from the short-film format to the development of his first feature, Color Book.
- 2024: The final hurdle was cleared when AT&T awarded Fortune a $1 million prize, which provided the production budget to film Color Book and secured its high-profile premiere at the Tribeca Film Festival.
For Fortune, these programs were not merely extracurricular opportunities; they were his primary lifeline. "Two of those companies don’t even exist anymore," Fortune notes, highlighting the instability of the very incubators that supported his early career.
The Aesthetic and Narrative Vision of Color Book
Color Book follows Lucky (William Catlett), a man recently widowed who is struggling to navigate the complexities of life while caring for his son, Mason (Mason Hutchinson). The film chronicles a single day in Atlanta, during which Lucky takes his son to his first baseball game.
Despite the title—which Fortune jokingly admits might be one of his "worst" creative choices—the film is shot entirely in high-contrast black and white. This stylistic choice serves a specific narrative purpose: by stripping away the color, Fortune removes the "distractions" of the world, forcing the audience to focus exclusively on the raw, intimate bond between father and son.
"I wanted to capture the intimacies between these two individuals," Fortune explains. "Black and white helps accentuate that because it takes out any distraction within the frame and only allows you to quiet your focus within the two characters that we’re seeing. When you’re watching the movie, you’re not focused on the blue sky or the passing red car… you’re only concentrated on the relationship between Lucky and Mason."
The film acts as an urgent intervention in cinematic representation. Fortune, who spent years as a camp counselor working with children with Down Syndrome, recognized a void in mainstream media: the lack of nuanced portrayals of both Black fathers and individuals with intellectual disabilities. By centering their experience, Color Book transforms a personal story into a universal commentary on the human condition.
The Industry Perspective: Beyond the "Gatekeepers"
Fortune’s decision to rely on program-based funding was a strategic choice born of necessity. Throughout his career, he has observed that the traditional Hollywood gatekeepers often remain closed to creators who do not fit established molds.
"I wasn’t getting funding from Hollywood," Fortune tells IndieWire. "I knew that fundraising for each project was just going to be painstaking… but the reason why I kept going back to the well was that’s where the support was. Those were organizations who saw something in me and saw my genius, my brilliance, my vision as an artist, and wanted to support that."
His philosophy is simple: "Go where you’re loved, go where you’re supported, go where the gate is open, instead of trying to go through gatekeepers that are not trying to allow you to be put in."
Angela Lee, the director of Artist Development at Film Independent, proved to be a pivotal mentor during the development process. She urged Fortune to treat his screenplay with the gravity of a life-altering project. "Be precious about this story and nurture this as if it’s your own child," she advised him—a piece of guidance that Fortune credits with helping him refine the film’s emotional depth during the grueling development phase.
Implications for the Future of Independent Cinema
The success of Color Book serves as a case study for the "Netflix Effect" and the role of corporate-backed training programs. Netflix has invested heavily in these initiatives, reporting over 1,000 training programs globally in the last five years, reaching nearly 90,000 participants.
However, there is a lingering debate within the industry: do these programs produce tangible results, or are they merely a performative substitute for systemic change? Fortune represents the best-case scenario—a filmmaker who utilized these resources to build a career, gain production experience, and eventually secure a worldwide distribution platform for his feature debut.
Yet, Fortune remains clear-eyed about what needs to happen next. He argues that the industry must move beyond the "incubation" phase and into a phase of active integration.
"I do think it’s up to the industry to take notice of these filmmakers and see more about them," Fortune states. "If you see something that resonates with you about their work, why not bring them into your camp? Why not bring them into your production company? Why not continue to support their voice if you feel like there’s something powerful within that?"
Conclusion: A Template for the Next Generation
As Color Book begins its run on Netflix, David Fortune is already looking toward the horizon, currently drafting his second feature. His journey serves as a template for emerging artists—a roadmap of how to navigate a fragmented industry, cultivate institutional support, and protect one’s artistic vision amidst the pressures of commercial filmmaking.
By choosing to tell stories that reflect his own community and lived experiences, Fortune has carved out a space where none existed. He argues that if a story is lived and experienced by a population, it belongs on the screen. "These are a reflection of our human experiences overall," he says.
For aspiring filmmakers watching his journey, the message is clear: the path to the big screen may be long, winding, and dependent on the charity of those willing to provide a "hand up," but with enough persistence, the gates can be opened. Color Book is now available for streaming, marking the arrival of a director who, like his protagonist Lucky, has endured the setbacks to ensure his vision reaches the light.
Layla Zulfa
Ali Ikhwan
