This study aims to present a concise discussion on the representation of Blackness, with a particular focus on Black women, using the short documentary A Love Song for Latasha (2019), directed by Sophia Nahli Allison, as the object of analysis. The examination of the film centers on the director s approach to constructing a perspective that directs the gaze toward the subjectivity of Latasha Harlins, who was fatally shot in 1991, without resorting to the reductionist discourses commonly associated with Black women s bodies in mainstream media. In this context, the concept of the Black Frame pertains to the ways in which the Black body is framed on screen, its expressive and aesthetic compositions, and the symbolism it evokes- elements that this study seeks to analyze through selected frames from the film. An interdisciplinary approach will be adopted, incorporating the concept of representation from British cultural studies, cinematographic theories, and critical race theory. This research is grounded in the premise that the film about Latasha establishes a renewed perspective on local Black history by employing testimonies-rooted in real events-to introduce new interpretations of a body previously recognized solely through the brutality of her death. Additionally, the study aims to explore the significance of new avenues for reconstructing the memories of Black individuals, whose historical narratives have long been confined to statistics on slavery or the incarcerated population. The findings underscore the necessity for an ongoing transformation in the representation of marginalized groups, as a means of preventing bodies from being confined to aesthetic reductions. A viable approach to achieving this objective involves fostering and sustaining spaces that accommodate the diversity of perspectives and identities that shape these narratives.