Wieland paradoxically titles this painting a “film,” or rather two films: a feature showing a white woman and a black man melting into a kiss, and a short showing a sailboat, heads in profile, and speech balloons.

In 1963 there were no mainstream films or television programs showing romantic bliss between interracial couples, and likewise no possibility of a narrative climax based on a racially integrated union. Wieland’s “first integrated film” is a fiction that exists only in painted form.