--- title: "Selma" year: 2014 kind: "film" canonical: "https://film.one/film/selma" fi1m_id: "selma" imdb_id: "tt1020072" tmdb_id: 273895 wikidata_id: "Q17183770" fi1m_score: 84 critics_score: 81 critics_reviews: 21 published: "2026-09-15" updated: "2026-09-18T08:38:23.183915+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Selma (2014) Directed by Ava DuVernay · 2h 08m · MPA PG-13 · History, Drama ## Identity Selma - **Canonical:** https://film.one/film/selma - **Type:** Film - **Fi1m ID:** selma - **IMDb ID:** tt1020072 - **TMDB ID:** 273895 - **Wikidata ID:** Q17183770 - **Same entity:** https://www.imdb.com/title/tt1020072/, https://www.themoviedb.org/movie/273895, https://www.wikidata.org/wiki/Q17183770 **Fi1m score: 84** · Critics 81 from 21 reviews *In a sentence:* Even with Martin Luther King doing the asking, getting a politician to commit remains a full-time job > Ava DuVernay’s *Selma* makes political organising gripping and gives David Oyelowo room to find the strain beneath King’s authority. Some exchanges sound too prepared, but the film earns its anger and much of its hope. ## Synopsis In 1965, Dr Martin Luther King Jr focuses his civil-rights campaigning on voting rights and the marches in Selma. David Oyelowo plays King as he works with fellow activists, weighs the risks of non-violent protest and presses President Lyndon B. Johnson, played by Tom Wilkinson, to act. Carmen Ejogo plays Coretta Scott King, whose relationship with her husband is part of the pressure surrounding the campaign. Ava DuVernay directs a drama that follows the organising and political negotiations behind the public speeches, with Tim Roth as Governor George Wallace and Stephan James as John Lewis. ## Review *Selma* is a persuasive, often moving political drama, most interesting when people disagree about what to do next. Ava DuVernay concentrates on King’s 1965 voting-rights campaign, giving the organising and negotiation the attention usually reserved for the public address. Paul Webb and DuVernay’s screenplay understands how much a leader has to calculate before asking anyone else to take a risk. The arguments among activists and the negotiations with political leaders are given space to develop. David Oyelowo makes that responsibility readable without turning every quiet moment into a demonstration of suffering. He lets King listen, consider an objection and choose how firmly to answer it. The speeches are forceful, as they need to be, yet the private conversations make the greater claim on our attention. The confidence takes effort, and Oyelowo lets enough of that effort show to suggest what constant demands from other people might cost. Carmen Ejogo gives Coretta Scott King an independence that stops the domestic scenes becoming mere reassurance about the man at their centre. We were moved by the quieter exchanges between Ejogo and Oyelowo, because her reserve makes his public confidence feel less certain. DuVernay is good at keeping other people present even when King is doing the talking. The campaign has the friction and affection of people who have spent time together, and that makes its disagreements worth following. Bradford Young gives the outdoor crowds a hard, sunlit clarity, which makes their exposure to violence difficult to watch. We were horrified by the brutality against people gathered to protest; the force used against them feels sickeningly disproportionate. Mark Friedberg’s production design is most persuasive in the rooms used for political discussion, where the surroundings never compete with the actors. Those scenes need little decoration to hold our attention. The weaker passages come when Webb and DuVernay let a conversation sound as though everyone has already prepared a speech. Tom Wilkinson’s President Lyndon B. Johnson is too conveniently obstructive in places, while Tim Roth’s Governor George Wallace has little space to be anything else. Both performances give the resistance force, but the writing makes these men easier to categorise than the activists. A film so interested in the mechanics of persuasion could have trusted us with less tidy opponents. Spencer Averick’s editing gives the strategy discussions time to develop, and we can follow the pressure being applied from one exchange to another. The movement into crowd action is occasionally too brisk, shortening our sense of what it takes to gather people and keep them together. Jason Moran’s score supports the film’s gravity, though at points its insistence adds feeling the performances have already supplied. These are lapses in emphasis, and they seldom break our concentration. The familiar danger of this kind of historical drama is that foreknowledge makes every choice look inevitable. DuVernay keeps enough uncertainty in the conversations to make us attend to decisions instead of waiting for the next famous speech. At 128 minutes, the film has time for discussion, and it mostly uses that time well. See it for Oyelowo, but give the arguments around him as much attention as the oratory. *Fi1m score 84, published 15 September 2026.* ## What the critics say Most critics respond warmly to Selma, praising its focus on the practical work behind the marches: negotiations, strategy and difficult personal relationships. David Oyelowo’s King draws the strongest agreement, with reviews finding both authority in his speeches and vulnerability in quieter scenes. DuVernay’s direction is widely credited with avoiding the usual cradle-to-grave biography and giving the movement’s violence, solidarity and political decisions a force that reaches beyond historical reconstruction. The reservations concern pace, speechifying and how fully the supporting figures are drawn. The spread runs from strong enthusiasm to mixed responses, though even qualified reviews usually praise Oyelowo. Film Comment questions the psychological depth others admire and finds supporting characters reductive; the Evening Standard finds the film pompous despite its lead performance. Eye for Film is an unusual dissent on Oyelowo himself, judging him dull and the pacing slack. The disagreement is sharper over the drama’s restraint than its subject’s importance. ## Straight answers **Is Selma worth watching?** *Selma* is worth watching for anyone who wants a political drama built on argument rather than oratory, and we scored it 84. David Oyelowo lets the strain beneath King's authority show, and the negotiations and disagreements among activists are the film's strongest passages. Some exchanges sound too prepared, and the opponents are drawn more tidily than the activists. **How long is Selma, and what is it rated?** *Selma* runs 2h 08m and is rated PG-13 by the MPA in the US. It is a history and drama film. **Where can I watch Selma in the US?** *Selma* is streaming on Netflix and Pluto TV in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Selma, and is it suitable for children?** *Selma* carries a UK 12 certificate and shows the brutality used against peaceful protesters plainly enough that we found it hard to watch. There is no gratuitous gore, but the violence against gathered crowds is sickening in its disproportion, and younger children would find it distressing. Teenagers should manage it, and the film's arguments will reward them. **How does Selma compare to The Battle of Algiers?** *Selma* is the warmer and more talkative of the two, spending its time in rooms where people argue about what to do next, while [*The Battle of Algiers*](https://film.one/film/the-battle-of-algiers) is harsher and stays closer to the crowd. Pontecorvo's documentary style makes the violence feel nearer, and his crowds never look like scenery. Choose *Selma* for the people, the earlier film for the campaign. **What should I watch after Selma?** After *Selma*, try [*The Battle of Algiers*](https://film.one/film/the-battle-of-algiers) (1966, Fi1m 93): A harsher account of organised resistance, with crowds that never feel like scenery. Then [*Norma Rae*](https://film.one/film/norma-rae) (1979, Fi1m 82): For the patient, exhausting work of persuading people to stand together; and [*No*](https://film.one/film/no-country-for-old-men) (2012, Fi1m 91): Another political campaign where strategy matters, and persuasion brings uncomfortable compromises. ### Reviews we read (29) - **Little White Lies**, David Jenkins (4/5/5): Selma is a vital, sophisticated and unsentimental drama that frames racial violence as an ongoing historical issue. It excels through David Oyelowo’s revelatory performance as King and avoids biopic conventions. [Read](https://lwlies.com/reviews/selma) - **Time Out**, Joshua Rothkopf (5/5): The film works brilliantly as both expert historical re-creation and a powerful reflection of ongoing racism. DuVernay creates a lived-in state of unrest with complex performances and psychological depth. [Read](https://www.timeout.com/movies/selma) - **Empire**, Chris Hewitt (85/100, inferred): The critic calls it a deeply affecting and inspirational movie despite flaws, anchored by Oyelowo's awards-worthy performance. It singles out DuVernay's skill with actors and the powerful depiction of King's oratory and quieter moments. [Read](https://www.empireonline.com/movies/reviews/selma-review/) - **Radio Times**, Andrew Collins (4/5): DuVernay’s history lesson focuses tightly on the 1965 marches and avoids biopic pitfalls with a career-defining Oyelowo performance. The sense of righteous anger is palpable despite some panto elements. [Read](https://www.radiotimes.com/movie-guide/b-iirz3f/selma/) - **The Independent** (80/100, inferred): The critic praises the film as a forceful historical drama with modern resonance that focuses on King's Selma campaign and its political intricacies. It singles out the vivid crowd scenes and backroom discussions for their energy and emotional impact. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/selma-film-review-history-lesson-of-eloquent-force-that-has-unhappy-modernday-resonance-10026163.html) - **Total Film**, James Mottram (80/100, inferred): The review hails the film as a powerful achievement and hugely impressive directorial effort from DuVernay. It singles out Oyelowo's commanding lead performance and the vivid handling of tension and trauma scenes for particular praise. [Read](https://www.gamesradar.com/selma-review/) - **The Guardian** (75/100, inferred): The film is an ambitious, handsomely staged civil rights drama focused on King's 1965 Selma campaign, strong on strategic leadership and non-violent protest tactics but weighed down by prestige gloss and oratory that intrudes on quieter scenes. [Read](https://www.theguardian.com/film/2014/dec/05/selma-review-civil-rights-drama) - **Screen Daily** (70/100, inferred): Selma strikingly dramatises a key civil-rights episode and feels topical. It is praised for Oyelowo’s terrific lead performance but noted for somewhat understated march sequences. [Read](https://www.screendaily.com/selma/5080847.article) - **Evening Standard**, David Sexton (60/100, inferred): The review finds Oyelowo tremendous as King but judges the film overwhelmed by its sense of occasion and turned pompous. It singles out the script's effective focus on the marches and Oyelowo's performance for praise while complaining about speechifying dialogue. [Read](https://www.standard.co.uk/culture/film/selma-film-review-10027864.html) - **Film Comment**, Michael Sragow (55/100, inferred): The critic finds the film ambitious but often deliberate and uninspired, praising its powerful depiction of street atrocities and Oyelowo's oratory while criticizing the lack of psychological depth in King's character and reductive portrayals of supporting figures. [Read](https://www.filmcomment.com/deep-focus-selma-ava-duvernay/) - **Los Angeles Times**, Kenneth Turan: The critic calls it a necessary and essential film with memorable performances and compelling sequences but notes it is inconsistent and not as strong in some elements, particularly scenes with white authority figures. Praises the humanization of King and the movement's camaraderie. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-selma-review-20141225-column.html) - **Sight and Sound**, Ashley Clark: The film powerfully dramatises Martin Luther King’s leadership during the 1965 Selma marches and speaks directly to contemporary events. It is praised for its complex, unflashy portrayal of King by David Oyelowo and its activist urgency. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/selma-review-martin-luther-king-leads-his-marchers-onward) - **Slant Magazine**, Steve Macfarlane: The film aligns historical struggle with contemporary relevance through DuVernay’s focus on strategy sessions and myth-correctives, with strong performances and visceral sequences. It stumbles slightly with a rushed finale and some editing choices that undercut the march’s weight. [Read](https://www.slantmagazine.com/film/selma/) - **The Hollywood Reporter**, Stephen Farber: DuVernay handles the epic civil rights story with a strong sense of proportion and craftsmanship in this two-hour film. The performances, especially David Oyelowo as King, are sharp and the result is a deeply moving piece of history that opens hearts and minds. [Read](https://www.hollywoodreporter.com/news/general-news/selma-afi-fest-review-748467/) - **The New Yorker**, David Denby: The critic praises DuVernay's film as a very good movie that focuses on the political process and King's resourcefulness rather than a standard biopic. It singles out the portrayal of King and the march scenes for their dramatic force. [Read](https://www.newyorker.com/magazine/2014/12/22/living-history) - **Variety**, Scott Foundas: The critic lauds the politically astute and psychologically acute biopic that gives a human-scale King and balances intimate and epic elements effectively. Highlights the vivid recreation of the civil rights movement and Oyelowo's performance. [Read](https://variety.com/2014/film/festivals/film-review-selma-1201354433/) - **Vulture**, David Edelstein: DuVernay’s film emphasizes the gritty negotiations and political maneuvering behind the movement rather than just dreams or symbolism. It excels in showing the human-scale work of history through strong performances and key relationships like King and LBJ. [Read](https://www.vulture.com/2014/12/movie-review-selma.html) - **Collider**, Matt Goldberg (A): Praises DuVernay for crafting a powerful film that delves into the politics and personal relationships behind the marches without smoothing over difficult events or complicated people. Highlights the remarkable performance by David Oyelowo and the unflinching observation of brutality and complications, while noting some timeline fuzziness. [Read](https://collider.com/selma-review/) - **The Playlist**, The Playlist Staff (A): The critic calls the film vital and vibrant humanistic cinema with inventiveness, urgency, humor, and emotion that draws parallels to the present. They single out the sublime cinematography by Bradford Young, with its sun-baked tableaus and powerful montage of the march confrontation, for particular praise. [Read](https://theplaylist.net/review-ava-duvernays-vital-vibrant-selma-starring-david-oyelowo-carmen-ejogo-oprah-winfrey-20141226/) - **Paste**, Andy Crump (9.4/10): Describes the film as fiery and passionate, succeeding by focusing on a specific moment in the voting rights marches rather than a full origin story or hagiography. Commends the avoidance of biopic clichés, strong ensemble performances led by David Oyelowo, and its timely emphasis on civil disobedience, empathy, and solidarity. [Read](https://www.pastemagazine.com/movies/selma) - **Consequence** (90/100, inferred): Calls it a passionate and important historical recounting that balances emotional remembrance with startling fact, relevant to modern racial issues. Singles out the strong cast especially David Oyelowo's humanizing performance as King, DuVernay's understanding of communication, and unflinching intensity in depicting violence. [Read](https://consequence.net/2015/01/film-review-selma/) - **Deadline**, Pete Hammond (90/100, inferred): The critic calls the film a towering achievement worthy of its subject. He singles out the strong performances, especially David Oyelowo as King and Carmen Ejogo as Coretta Scott King, along with its timely relevance. [Read](https://deadline.com/2015/01/selma-review-ava-duvernay-david-oyelowo-1201343523/) - **HeyUGuys**, Stefan Pape (85/100, inferred): The critic praises the film as an intimate, subtle, and honest depiction that humanizes King rather than sanctifying him, with a stunning nuanced performance by David Oyelowo. They single out the rousing, poignant, and captivating quality of the focused portrayal of the Selma marches and its contemporary resonance. [Read](https://www.heyuguys.com/selma-review/) - **Den of Geek**, David Crow (4/5): The critic calls Selma a clarion call for justice and one of the best films of the year, praising its visceral emotional impact, Oyelowo's complete portrait of King, and the timely resonance of its themes of transcendence amid hardship. [Read](https://www.denofgeek.com/movies/selma-review/) - **Digital Spy**, Stella Papamichael (4/5): The critic highlights Oyelowo's charismatic and humane performance as King and DuVernay's precise direction in focusing on a pivotal period, noting the film's bristling energy in key scenes and its demonstration of principled activism. [Read](https://www.digitalspy.com/movies/a623823/selma-review-david-oyelowo-iniquitously-ignored-by-the-oscars/) - **The Skinny**, John Nugent (4/5): The critic praises DuVernay's measured and courageous approach to a brief historical window, highlighting the urgent and forceful depiction of violence and bigotry alongside Oyelowo's technically precise and soulful performance as King. [Read](https://www.theskinny.co.uk/film/new-releases/selma) - **NME** (75/100, inferred): The critic describes the film as gripping and affecting despite controversy over historical accuracy, praising David Oyelowo's brilliant performance capturing King's charisma and personal guilt while noting its impressive storytelling. [Read](https://www.nme.com/reviews/reviews-various-artists-15916-319051) - **Eye for Film**, Angus Wolfe Murray (3.5/5): The review notes that the film effectively reminds viewers of the danger and brutality of the civil rights struggle and succeeds as an historical reconstruction. It criticizes the faltering pace with long stretches where little happens, along with a dull lead performance by David Oyelowo. [Read](https://www.eyeforfilm.co.uk/review/selma-2014-film-review-by-angus-wolfe-murray) - **The Wrap**, James Rocchi: The critic hails it as one of the year's best American films for its vital, funny and complex portrait of King. He singles out the strong direction, ensemble cast and the way it connects the historical events to contemporary issues. [Read](https://www.thewrap.com/selma-review-martin-luther-king-oprah-winfrey-david-oyelowo/) ## Details - **Director:** Ava DuVernay - **Director:** Ava DuVernay - **Writer:** Paul Webb, Ava DuVernay - **Cinematography:** Bradford Young - **Editor:** Spencer Averick - **Music:** Jason Moran - **Production design:** Mark Friedberg - **Costume design:** Ruth E. Carter - **Producer:** Christian Colson, Dede Gardner, Jeremy Kleiner - **Cast:** David Oyelowo as Dr. Martin Luther King, Jr.; Carmen Ejogo as Coretta Scott King; Tom Wilkinson as President Lyndon B. Johnson; Giovanni Ribisi as Lee White; Tim Roth as Gov. George Wallace; André Holland as Andrew Young; Colman Domingo as Ralph Abernathy; Common as James Bevel - **Runtime:** 2h 08m - **Certificate (MPA):** PG-13 - **Release (the US):** 9 January 2015 - **Genres:** History, Drama - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2014); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 2014) - **Budget:** $20 million - **Box office:** $67 million - **Trailer:** https://www.youtube.com/watch?v=kPgs2zshD9Y ## Where to watch in the US - Netflix: streaming - Pluto TV: free - Amazon Prime Video: rent $3.99, hd - Apple TV: rent $4.99, hd - Apple TV: buy $4.99, hd - Amazon Prime Video: buy $14.99, hd *Checked 2026-09-15.* Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, FI, FR, GB, IE, IT, JP, MX, NO, NZ, PA, SE, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2015: Best Picture (nominated) ## If you liked this - *The Battle of Algiers* (1966), Fi1m 93: A harsher account of organised resistance, with crowds that never feel like scenery. — [Fi1m page](https://film.one/film/the-battle-of-algiers.md) - *Norma Rae* (1979), Fi1m 82: For the patient, exhausting work of persuading people to stand together. — [Fi1m page](https://film.one/film/norma-rae.md) - *No* (2012), Fi1m 91: Another political campaign where strategy matters, and persuasion brings uncomfortable compromises. — [Fi1m page](https://film.one/film/no-country-for-old-men.md) - *Pride* (2014), Fi1m 82: Collective action with more laughter, and a similar interest in difficult alliances. — [Fi1m page](https://film.one/film/pride.md) - *Judas and the Black Messiah* (2021), Fi1m 80: A more fearful portrait of leadership, solidarity and the dangers surrounding political organising. — [Fi1m page](https://film.one/film/judas-and-the-black-messiah.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/selma