Television series
The Underground Railroad
Barry Jenkins turns Colson Whitehead's novel into ten hours of unbearable beauty: the Underground Railroad reimagined as an actual subterranean network, but the deeper trick is visual — long silences, held close-ups, light doing the work of dialogue. It's slow, hallucinatory, sometimes excruciating. Not comfort viewing, but genuinely breathtaking filmmaking about a subject that demands exactly that weight.
If you liked this
12 Years a Slave2013
Steve McQueen's unflinching, Oscar-winning account of Solomon Northup's captivity shares the same commitment to making viewers sit with the reality of slavery rather than softening it.
But It's punishing, sustained cruelty with little relief — a hard watch, not an easy recommendation for a rough week.

Moonlight2016
Jenkins' own earlier film, a tender triptych of a boy becoming a man, carries the same visual patience and intimacy with Black interior life, minus the historical horror.
But If you came for scale and atrocity, this quiet, small-scale character study might feel like a step down in stakes.

Watchmen2019
This alternate-history superhero series treats its fantastical elements as literal engines for exploring racial violence and inherited trauma, the same way Jenkins treats his railroad.
But Dense genre mythology and comic-book continuity may frustrate anyone who doesn't already speak superhero.

The wildcard
Something you would not have found on your own.
Sankofa1993
Both make the metaphor of 'returning' to slavery literal — a magical mechanism drags the protagonist into history so nobody can look away, decades before Jenkins tried it with rails and tunnels.
Haile Gerima's film pulls a Black American model, on a photo shoot at a former slave fort, bodily back through time into slavery itself — spiritual transport instead of rails.
But Low-budget and raw by design; the pacing and effects show their age next to Jenkins' polish.

More like this (8)
Lovecraft Country2020no page yet
Real monsters share the screen with the monstrous reality of Jim Crow America, fusing pulp horror imagination with historical horror in a way that rhymes with Jenkins' approach.
But Ambitious to a fault — the story sprawls into too many directions and the finale can't quite gather it all up.
Roots1977
This remake of the classic saga traces one family across generations of slavery, epic in scope and unflinching in the details it chooses to show.
But More conventional in style — straightforward historical drama without any of the show's dreamlike visual experimentation.

Harriet2019
A biopic of Harriet Tubman dramatizes the literal underground railroad's most famous conductor, urgent and rousing where Jenkins' version is meditative and slow.
But Plays it safer than the show — a mainstream biopic shape rather than the series' strange, poetic register.

Beloved1998
Toni Morrison's story, with Oprah Winfrey, folds a literal ghost into slavery's aftermath, using the supernatural to carry grief too large for realism, much like Jenkins' fantastical railroad.
But Divisive on release — slow, heavy, and symbolic in ways some viewers find inert rather than haunting.

The Book of Negroes2015no page yet
This lesser-known Canadian miniseries follows a woman's journey from slavery through the Revolutionary War, epic in ambition and unafraid of its harshest chapters.
But Rougher production values and pacing than Jenkins' cinematic polish — a good story told more plainly.
Antebellum2020no page yet
A modern woman is pulled into a slavery-era plantation nightmare with a genre twist, echoing the show's collision of historical horror and structural imagination.
But Critically mauled for treating slavery's horror as a thriller mechanism rather than earning the ideas it borrows.
13th2016
It's the nonfiction backbone under the show's fable — where the railroad is a fantasy device standing in for a system, this is the real, unbroken system itself.
Ava DuVernay's documentary traces a direct, factual line from the 13th Amendment through convict leasing to mass incarceration, showing the machinery Cora escapes never really stopped running.
But No drama, no character to follow — just interviews, archival footage, and an argument, however urgent it is.

Sorry to Bother You2018
Same structural trick, opposite register — both take a metaphor about exploitation and make it grotesquely physical, one in near-silence, the other as screaming comedy.
Boots Riley's fizzing satire literalizes capitalist exploitation the same way Jenkins literalizes the railroad — sudden absurdist transformation standing in for what a system actually does to Black bodies.
But Broad, chaotic, and deliberately silly in places — a full tonal reversal from the series' hushed solemnity.

People
Cast
Writing
- Barry JenkinsCreator
- Allison DavisStaff Writer
- Jihan CrowtherStaff Writer
Production
- Chiara M. RiveraAssociate Producer
- Lindsey MolnarAssociate Producer
- Jamie FeldmanCo-Producer
- Shawn PetersenCo-Producer
- Nathan C. ParkerConsulting Producer
- Adele RomanskiExecutive Producer
- Barry JenkinsExecutive Producer
- Brad PittExecutive Producer
- Colson WhiteheadExecutive Producer
- Dede GardnerExecutive Producer
- Jacqueline HoytExecutive Producer
- Jeremy KleinerExecutive Producer
- Mark CeryakExecutive Producer
- Richard HeusExecutive Producer
- Richleigh Hz HeaghProducer