Sankofa Film & Video

Co-directed by Blackwood and Julien, the first full-length feature film by Sankofa Film and Video offers a radical and necessary interrogation into what constitutes 'post-colonial' identity at a time of political and social restlessness in Britain. Set within an isolated desert landscape contrasted with recognizable scenes of the intensity of family life, this vanguard work demonstrates the richness and variety of the black experience; it is a poetic and hard-hitting commentary on the complexities of race, gender and sexuality.

Two disc jockeys have a friend's murder to solve in the fringe-group melting pot of 1977 London.

A black and white, fantasy-like recreation of high-society gay men during the Harlem Renaissance, with archival footage and photographs intercut with a story. A wake is going on, with mourners gathered around a coffin. Downstairs is an elegant bar where tuxedoed men dance and talk. One of them has a dream in which he comes upon Beauty, who seems to reject him, although when he awakes, Beauty is sleeping beside him. His story and his visits to the jazz and dance club are framed by voices reading from the poetry and essays of Hughes and others. The text is rarely explicit, but the freedom of gay Black men in the 1920s in Harlem is suggested and celebrated visually.

Lost Boundaries is comprised of footage shot by Julien on location, in England in the summer of 1985, during the making of the Sankofa film and video collective's first experimental feature film The Passion of Remembrance (1986), which he co-directed with Maureen Blackwood, another member of the collective. In recapturing those moment Lost Boundaries both deconstructs and foregrounds the means of 16mm film production while weaving together a fragile community of Black artists and actors who came to prominence at a time when debates in film theory - such as those of the Screen film journal and of "third cinema" discourses where cinema was intertwined within (Brechtian) filmmaking practices - were at the forefront of forging a new politics of artistic representation. A Black avant-garde.

A bittersweet and nostalgic short drama illustrating the spirit of modern families touched by the experience of migration. Miss T., from the Caribbean, lives alone in her one-room apartment, her children and husband having left her to pursue new dreams. When she dies her family and friends gather at her wake. The tapestry of words that interweave the drama convey the fragments of a life lived, but only partly remembered.

Strip, a young painter and decorator feels lost by the lack of challenge in his work. As he scrapes away yet another layer of wallpaper he is lead to a startling discovery. It becomes his secret and his life takes a bizarre turn.

A semi-autobiographical account of a move from Sri Lanka to Britain, which explores "being inbetween East/West, mother/father, male/female". The filmmaker was born in Sri Lanka and brought up in the traditions of European culture and Roman Catholicism. He moved to England to live and work, and the film, which combines drama and documentary, is a personal account of his "negotiation of his personal history".

To ease her homesickness Miriam recreates an aspect of home in her suburban British garden. Cultural memory exerts a healing power, combatting cultural appropriation, hostility towards migrants and the rift between Miriam and her Nigerian-British children.

Territories is an experimental documentary about the Notting Hill Carnival. It locates the event within the struggle between white authority and black youth, in this case over the contested spaces of the carnival, and reflects on its history as symbolic act of resistance. The film makes the case using montage: cutting carnival scenes with archive news reports - police surveillance to rioting in the street - and crossing looks of desire with alienation, from police to reveller, woman to man, man to man. Add to this a disembodied, political critique and trenchant images of police violence and the audience soon becomes aware that the documentary itself is part of the resistance.

When Martin, a young father, is left alone one weekend with his son, his memories of past rejection from his own father come to the surface. As he walks through this complicated history, Martin begins to doubt his own ability to love.

Director Maureen Blackwood harnesses the distinctive style of the Sankofa Film Collective to sketch the Abrew family tree. The achievements of the unique showbiz family are celebrated using rich archive material, including footage of family members in supporting film roles alongside Paul Robeson and intimate fireside-style testimony. The existence of Black British communities before Windrush is foregrounded, with insights into the Abrews' imprint on British culture beginning in 19th century Scotland.

Who Killed Colin Roach? is Isaac Julien's first film, which reflects upon the death of Colin Roach, a 23 year old who was shot at the entrance of a police station in East London, in 1982. Even though the police claimed Roach had commited suicide, evidence showed otherwise. Isaac Julien says that this work is essentially a response to the riots, an answer to certain fixed ways of looking at black cultures, but also at those ways we might feel about ourselves.

This highly stylized short asserts sexual desire over fear in gay romantic relationships.

Monty, a gay Chinese guy living in London, makes it a habit to date only white boys. When his handsome East Asian neighbor invites him over for dinner, Monty has to decide if he's an Anglophile or simply prejudiced.

A man struggles to clear a room full of litter

Two actresses take us through a series of 'raps' and sketches about what it means to be beautiful and black.