DuVernay Test

Moving Beyond Tokenism

Inspired by the Bechdel Test for gender representation, the DuVernay Test aims to provide a more substantive measure of diversity than simply counting the number of non-white actors on screen. The test was first articulated by New York Times film critic Manohla Dargis in early 2016 and named in honor of acclaimed director Ava DuVernay, whose work often features complex, multi-dimensional characters of color.

The test addresses the long-standing cinematic trope of sidelining characters of color, reducing them to plot devices, sources of wisdom for the white protagonist (the ‘Magical Negro’ trope), or token presences with no meaningful inner life or story arc.

The Criteria

While there is no single, rigid definition, the spirit of the test is to determine whether a film’s narrative treats its characters of color as fully human. A film is said to pass the DuVernay Test if its characters of color have their own autonomous lives, ambitions, and relationships that are not solely in service of the story of a white protagonist.

To apply the test, one asks critical questions about the characters of color in the film:

• Do they have their own goals and desires?
• Do they interact with other characters of color about something other than the white characters?
• Do they have a life that exists outside the scenes they share with the white protagonists?

Films like Hidden Figures, Moonlight, and DuVernay’s own Selma are clear examples of films that pass the test, as their narratives are centered on the rich, complex lives of their characters of color. The test serves as a valuable tool for writers, directors, and critics to encourage more authentic and meaningful representation on screen.