A Black conservative filmmaker is pressing the Smithsonian to clarify why his documentary, which questions progressive views on race, has not been shown publicly at its African American history museum. This museum has featured various films that explore systemic racism in the past.
Entitled “White Guilt,” the documentary was directed and co-produced by Eli Steele, who based it on a book by his father, the well-known Black conservative scholar Shelby Steele. Eli, who identifies as Black, Jewish, and deaf, weaves his personal experiences into the documentary to challenge dominant narratives about race and identity.
The film posits that White guilt related to America’s racial history—along with worries about being branded as racist—has led organizations to favor racial identity over individual qualifications.
This conflict arises amid increasing scrutiny on the Smithsonian from President Donald Trump and his administration, who have raised concerns about perceived ideological bias in the museum’s depiction of American history. The White House has accused the institution of endorsing progressive viewpoints and has threatened to limit federal funding, highlighting a broader struggle over the representation of various narratives in the nation’s cultural institutions.
Correspondence provided by Steele to Fox News Digital shows that the museum turned down his proposed dates for public screenings and instead offered a private rental option. So far, the museum hasn’t replied to Steele’s request for alternative public screening dates.
Steele remarked, “The film is professionally shot, the quality is there. A comparable film they’ve shown, ’13th,’ is also quite controversial. So the big question here is: Do we promote viewpoint diversity or not? Do you need to fit a certain mold as a Black person to be presented at the Smithsonian?”
He expressed a hope that the situation does not revolve around such considerations. Steele’s observations reflect frustration over the museum’s decision, especially when compared to other films with more progressive messages that have been aired publicly.
For example, “13th” is part of the educational programming at the NMAAHC, criticizing how the 13th Amendment’s exception for punishment perpetuated racial control after slavery by allegedly criminalizing Black actions.
Other publicly screened films at the NMAAHC include “Hidden Figures” and “I Am Not Your Negro,” with the latter screened in collaboration with the Smithsonian Folklife Festival.
Despite Steele’s hesitations about speculating on why his film hasn’t been shown, some Black conservatives see this as indicative of a broader trend. Carol Swain, a retired Black conservative professor, commented that academia has shifted away from being a true marketplace of ideas and increasingly tolerates fewer conservative perspectives over time. She added that conservatism, particularly among Black individuals, faces growing intolerance.
Swain argued that an institution like the Smithsonian should strive for inclusivity and diverse viewpoints, which she feels is lacking. Jason Riley, a Wall Street Journal columnist, echoed similar sentiments, suggesting that the individuals running the Smithsonian represent a broader liberal intelligentsia resistant to alternate views, especially since Steele’s film critiques that group directly.
Riley believes there is a vested interest at play in maintaining a narrative that aligns with a political agenda. He also noted that viewers, including Black attendees of the NMAAHC, could benefit from Steele’s film, which challenges the notion that systemic barriers solely hinder their upward mobility.
Recently, the Smithsonian has faced backlash from Republican lawmakers—including the President—who assert that political bias has overshadowed impartial historical portrayal. Some within the museum argue they reveal both the good and bad sides of the American story, but the Trump administration has warned of potential cuts to federal support if those biases are found to persist.
In their attempts to arrange a public screening for “White Guilt,” Steele and his team reached out to the museum in late August, receiving a prompt response directing them to complete an event application. After they submitted the application in early September, the museum later informed them that the proposed dates were unavailable.
When Steele’s team inquired about alternative dates, they were offered a private screening for a cost of $35,000 instead of a museum-sponsored event. Steele expressed his disbelief, stating, “Responding to emails doesn’t take that much time.”
Glenn Loury, a professor who self-identifies as “conservative-leaning,” praised the film, noting it effectively illustrates long-debated issues around racial identity and political power dynamics, suggesting it deserves a platform for public engagement.
Despite the ongoing dialogue, the NMAAHC has not responded to requests for comments regarding this matter. Steele emphasized the significance of showcasing his father’s work at the Smithsonian, highlighting its relevance and the impact it could have on discussions surrounding race in America. “Our proposal is still open, and we hope to receive an answer,” he added.
