Martine Syms’s whip-smart satire brings the invisible, everyday negotiations of a Black artist to startlingly visual life Martine Syms’s debut feature derives its title from a Freudian slip. In the opening scene, as Palace (Diamond Stingily), a sculptor at an upstate New York art school, describes her thesis project to an all-white faculty panel, she mispronounces “African diaspora” as “African desperate.”