This contribution covers overlooked entries in “Blaxploitation” cinema of the 1970s that took an overtly political stand against white racism, exploring their contradictory relationship to blaxploitation’s conventions and tropes (its apolitical themes, macho characters, and action-crime story-lines and aesthetics). In highlighting how these more militant films were distinctive formally and thematically for their nihilistic and death-bound understanding of resistance and revolt, this work also details the attendant struggle their directors had in gaining funding for their projects—including the experience of state interference in the making and exhibiting of their films.