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CONTENTS

Opening Credits

Off-Set: Rebel Dread

Exposition: Summer Of Soul

Cutaway: Black Is Queen

Off-Set: BBC Film

Tracking: Are We Black Enough?

27 Snapshot: Awards Ceremony and Shorts Showcase 32

Voiceover: Ailey

Props: Well-Seasoned

Lizard

38 Exposition: Candyman 42 Tracking: Making Waves 46 Focus: Joshua Okpala 49 Fade To Black: Menelik Shabazz 53 Schedule 54 Closing Credits

Menelik Shabazz

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OPENING CREDITS

Not gonna lie, I think I may be dealing with a bit of burnout. This year’s festival was supposed to be about re-emerging into the world but ‘freedom day’ has come and gone and I’m not sure if I’m ready to get back to ‘normal'. Iyare Igiehon

I’ve been trying not to let the pandemic affect me too much – attempting to breeze through life regardless. I even changed jobs and moved house during this pandemic. I’ve been telling myself I’m not just coping… I’m thriving. But what if “fake it, ‘til you make it” isn’t the healthiest approach?

Nuru Rimington Mkali

Akua Gyamfi

Anthony and Teanne Andrews

Priscilla Igwe

It seems like it gets more and more difficult to get my head into work each day and motivation is harder and harder to summon up. Some days, I wonder if I’ll ever get back to feeling like my most productive and effective self again, or if the anxiety I currently feel when leaving the house to be around people will ever subside. I can’t stop worrying about the long-term effects of 18 months of lockdown on my kids. What does any of this have to do with this year’s festival? I guess that if we didn’t have each other to lean on as a team we wouldn’t have a festival to offer you. If you weren’t somehow able to cope and engage with what we’ve pulled together for you, there’d be no point. So, I guess I just want to express my gratitude to our fantastic team; to all our volunteers for all their hard work; to our partners, sponsors and supporters and to you for reading our programme, buying tickets or merch or attending our online events. Working on S.O.U.L. Fest gives me my own glorious purpose – something bigger than myself, a sense of duty. And to anyone who takes even the most fleeting interest in it I say THANK YOU, because I have needed this. We are grateful that participating in the world beyond your doorstep includes our humble film festival. We are grateful for your support and don’t take it for granted. So, please take time to explore the festival programme and schedule. So much passion and commitment has gone into delivering it for you and, however you are coping with the effects of the past year, I hope you are taking care of yourself and that you are able to lean on those you love. Best wishes,

Enoma Igiehon

Iyare Igiehon S.O.U.L. Film Festival Director

OPENING CREDITS

Co-Founders of S.O.U.L. Film Festival S.O.U.L. Fest is a collaboration between four British Black organisations dedicated to serving Black audiences and talent –The British Blacklist, The New Black Film Collective, We Are Parable and S.O.U.L. Film.

“Getting this festival up and running has proven vital for us as our jam-packed screening and networking events have simply not been feasible since early 2020. This year’s programme builds upon our work celebrating Black filmmakers and connecting them with audiences. We appreciate that you have come on this journey, spending time in our company, as we guide you through our world of Black cinema.” Iyare Igiehon, Nuru Rimington Mkali and Enoma Igiehon S.O.U.L. Film

“After bringing the festival online last year, we’re really excited to be able to go back into cinemas and experience these films with you. By bringing together some of the most talented and experienced figures to talk through how you can navigate a post-pandemic industry, we hope that you leave the 2021 S.O.U.L. Fest optimistic about the future of the landscape of Black British Film.” Anthony and Teanne Andrews We Are Parable

THE NEW BLACK film collective “Following what has been an unprecedented year for us all, it has been a rollercoaster ride deciding how to deliver the third year of S.O.U.L. Fest. However, we have been comforted by the resilience of the creative community who have resourcefully adapted to the restrictions the film industry has faced whilst still being able to create content that is just as powerful, emotive and poignant as ever.”

“There has been a great deal of loss and hardship during the pandemic, but we have gathered again to celebrate life in a place that we call home. We are honoured that you have chosen to participate in a festival that champions Black film. We look forward to our first ever Awards Ceremony and trust in the collection of stories that we have curated to lift our spirits and touch your soul.”

Akua Gyamfi The British Blacklist

Priscilla Igwe The New Black Film Collective

O F F-S E T

R E B E L D R E A D Rarely has someone been as prolific, wearing so many different hats, as Don Letts, the subject of William E. Badgley’s documentary feature film, Rebel Dread (2020). Depending on who you ask, they’ll know him as an international DJ, an award-winning filmmaker, a member of the pioneering band Big Audio Dynamite (despite not being able to sing or play an instrument), or as a forthright cultural commentator. Badgley’s film, largely narrated by Letts himself, brings Letts’ life and times together as an immersive audio-visual biography, stretching between his childhood growing up in a Britain stained by Enoch Powell’s ‘Rivers

of Blood’ speech, and his trailblazing successes which followed. Watching the film, one thing stands out above nearly all else: Letts was “always on a mission, always looking for something to happen”. After soaking up the energy and DIY ethos of London’s burgeoning subcultural scenes in the 1970s, he recounts his realisation that, “if I had an idea, and I was brave enough, maybe I could be part of this thing too”. In truth, looking at the world of glass ceilings and closed doors through Letts’s eyes, nothing seems impossible. This self-belief ultimately led to Letts becoming a DJ >>

O F F-S E T

at The Roxy, a key hub of the punk scene, where his heavy dub reggae sets were pivotal in forging an alliance between punk and reggae lovers. The Roxy was also where Letts began recording the footage on his Super 8mm camera which would eventually feature in his first film, The Punk Rock Movie (1978). This first foray behind the camera would see him shoot over 300 music videos for artists as disparate as Public Image and Bob Marley. Nonetheless, one of Letts’ proudest achievements as director is Dancehall Queen (1997), a Jamaican feature film cast in the mould of Perry Henzell’s The Harder They Come (1972) – the film that first gave Letts the urge to express himself visually. Both films gave a voice to Jamaican culture on the big screen, reinforcing Letts’ avowal that his creative projects need to “justify the space” that they occupy. As he says, “make films about things that mean something, and they can actually help to move things forward”. Amidst a climate of racist politicians, the racist enforcement of stop and search powers, Britain’s criminal underappreciation of its immigrant workforce, and a political discourse which made hate seem more tangible than unity, Letts built his career on seeing similarities where others chose to only see difference. Cultural exchange and 8

crossover collaborations are the fountains from which his creativity and identity have sprung, even as he grapples with his Jamaican heritage and reckons with the ramifications of his Black British identity. For most people, there is a gap between seeing and doing, usually spent trying to muster up self-belief or silence an internal fear of failure. Not for Don. In many ways, the moniker ‘Rebel Dread’ is a gross oversimplification of Letts’ character and cultural legacy; he didn’t rebel for rebellion’s sake – he had a vision, either as a DJ, a director or an artist who pioneered sampling movie dialogue on

O F F-S E T

songs. As his brother Desmond narrates: “Don saw it, he was ahead”. At one point in the documentary, speaking of veteran Jamaican reggae artists struggling to gain record deals, Letts claims: “there’s no real justice, the real pioneers never get to collect”. Luckily for us, with this film we have a documentary which pays testament to the pioneer who shaped British cultural scenes and who, to my mind, still hasn’t received the credit that his achievements deserve. Christopher Deane n Rebel Dread is released in UK Cinemas soon from Bohemia Media.

Don Letts and Bob Marley

"THE DOCUMENTARY OF THE DECADE" "GLORIOUSLY ENTERTAINING"

HHHHH BBC CULTURE

HHHHH LITTLE WHITE LIES

HHHHH EVENING STANDARD

"DAZZLING"

"TRANSCENDENT"

DAILY TELEGRAPH

MOJO

HHHHH

"TRIUMPHANT"

"SPECTACULAR"

DAILY EXPRESS

THE GUARDIAN

HHHHH

HHHHH THE ARTS DESK

HHHHH FINANCIAL TIMES

"DELIRIOUSLY ENJOYABLE"

HHHHH SUNDAY TIMES

HHHHH EMPIRE

HHHHH "ONE OF THE BEST CONCERT MOVIES OF ALL TIME"

SUNDAY MIRROR

HHHHH

THE OBSERVER

DAILY MIRROR

EXPOSITION

Summer of Soul Nina Simone

Summer of Soul (…or When the Revolution Could Not Be Televised) opens with a musical performance by Stevie Wonder playing the drums. It is unexpected, stirring, and utterly captivating. This prodigious feat of percussion sets the tone for the rest of the film. Directed by Ahmir “Questlove” Thompson, the documentary depicts the Harlem Culture Festival of 1969. Just one-hundred miles from Woodstock, it was another festival making musical

history. Black, revolutionary history. With performances from legends such as Stevie Wonder, Nina Simone, Sly and the Family Stone, Mahalia Jackson and more, the festival was a showcase of the most exceptional Black artists of the time. From Motown to Blues, to diasporic Latinx music, Summer of Soul transports us to the summer of ‘69. One attendee describes the experience as the “ultimate Black barbeque”, with people from all age >> groups filling Mount Morris Park. 11

EXPOSITION

Sly and the Family Stone

EXPOSITION

Nina Simone’s performance – one of the final shown in the documentary – includes one of the first live performances of her anthem ‘To be Young, Gifted, and Black’. She sings: “Open your heart to what I mean, we must begin to tell our young, there’s a world waiting for you, yours is the quest that’s just begun.” Simone carries herself onto the stage with such grace and authority, cool and collected in front of an audience of fifty thousand. She embodies the description of an “African princess”, bestowed upon her by an attendee. Simone leads them in a chant “Say it loud, I’m Black and I’m proud.” This phrase, as Thompson notes, spoke to the new generation of young Black people “who were very impatient, very demanding. They were about bucking the system. They referred to themselves as ‘Black.’ They had a sharper edge to their form of protest. And Simone spoke to that.” The footage, playing in brilliant technicolour, is so vivid and encompassing it is easy to forget the festival occurred over fifty years ago. However, when we see clips of individuals expressing their frustrations towards racial discrimination and police violence, we are left wondering just how much (or how little) has changed in half a century. Thompson contemplates on this: “When things started to unravel around April and May 2020, and especially in June, I had a casual observation: Isn’t it weird? The same circumstances that brought this concert together are now happening again while we’re trying to make this movie?”

Ahmir “Questlove” Thompson

At times, the footage feels like a religious experience – and not just from the gospel tunes. Writer Greg Tate states that, between gospel performances and free jazz, “there’s really not much difference between Mahalia catching the spirit and Sonny Sharrock catching the spirit when he did that crazy guitar solo.” Music acts as a release – a way to connect to the audience of the time, and to viewers now. Catharsis leads to joy, which acts as a force for liberation. The Harlem Culture Festival was more than the ‘Black Woodstock’, it was a ground-breaking event in its own right, and we are so lucky to marvel at part of the historic spectacle through this documentary. Mojola Akinyemi n Summer of Soul out in UK Cinemas now from Searchlight Pictures and on Disney+. 13

CUTAWAY

Black is

QUEEN On June 1st 2021, my interview with Jodie Turner-Smith for The British Blacklist about her upcoming role starring in Channel 5’s Anne Boleyn was shared on Twitter. The first comment: “You cannot rewrite history so don’t try.” Concerns about ‘rewriting history’ have circulated ever since, a year earlier, on June 7th 2020, Black Lives Matter protesters pulled down a statue of Edward Colston in Bristol. Their purpose was to challenge the way history has commemorated Edward Colston as a philanthropist, selectively editing out the atrocities he committed in the name of the British Empire. The protesters pointed out the core problem with history – that it is never objective truth, but subjective memory designed to reinforce existing structures of power. To challenge structures of power, then, requires a certain ‘revising’ of history. But, what does it mean to change the race of a

Queen Charlotte

historical figure – to cast Jodie TurnerSmith in the role of Anne Boleyn? For me, it meant that, for the first time, I empathised with this distant historical figure. I found myself fuming at how Henry could be messing around his missus right under her nose. While this attests to the humanity of Turner-Smith’s performance, I also realised it pointed to the long-standing failure of British period dramas to cast actors that looked like me. >> 15

CUTAWAY

As Turner-Smith shared in our interview, it is a strange experience reading period novels and envisioning yourself as the protagonist, then watching their film or television adaptation and realising, “Oh wait a minute, there’s actually no place for me in a story like this.” But, who decided that there was no place for us in period dramas? Because, the truth is, Black Britons have also lived in this country for centuries. Take Queen Charlotte, the wife of King George III and respected monarch at the centre of Bridgerton, played by Golda Rosheuvel. For a long time, hypotheses have circulated that Queen Charlotte might have been Britain’s first Black queen. To erase us from period dramas is to erase our histories. For example, repeatedly choosing to cast white actors, like Elizabeth Taylor or Gal Gadot, to perform the Egyptian queen Cleopatra, contributes to the erasure of North African and Arabic people from film and television, while simultaneously reinforcing Europe’s white-washed historical depiction of Ancient Egypt in general. The difference between casting white actors to play Cleopatra, and casting Jodie Turner-Smith to play Anne Boleyn is that, while history has tried to erase Cleopatra’s potential African ancestry, the British education system does not hesitate to drill into students that Anne Boleyn was one of Henry VIII’s six white queens. 16

Gal Gadot as Cleopatra

Jodie Turner-Smith as Anne Boleyn

Of course, one might ask, why tell the stories of a white queen like Anne Boleyn over and over again anyway? In this context, the casting of Turner-Smith might be defined as colour-blind (or newly coined colour-conscious) casting – a practice August Wilson famously condemned, instead arguing that African American artists should create art that showcases ‘their own way of responding

CUTAWAY

Golda Rosheuvel as Queen Charlotte

to the world, their own values, style, linguistics, their own religion and aesthetics’. On the other hand, retelling such “classically English” stories as the life of Anne Boleyn, or Charles Dickens’ David Copperfield, by casting actors like Jodie Turner-Smith and Dev Patel in the leading roles, powerfully challenges audience perceptions about what

“Englishness” actually is. They probe audiences to reconsider the way that television and film have traditionally represented Britain’s history; instead reminding audiences that we have always been here, we will be here as long as we like, and our right to be represented on screen is as equal as everyone else’s. Hannah Shury-Smith n

DAWN IN THE DARK Runyararo Mapfumo

EXPENSIVE SHIT Adura Onashile

LIZARD

Akinola Davies Jr.

O F F-S E T

BBC Film –

THE SHORT ANSWER INTERVIEW WITH

Dionne Farrell, Development Executive at BBC Film What do you love most about your job as a Development Executive at BBC Film? I really enjoy being involved in identifying the next generation of exciting filmmaking talent to support and champion in a meaningful, long-term way, whether that’s Adura Onashile proving that she can direct for screen, or Runyararo Mapfumo making something with a bit more scale. I also like the breadth of the work because you can be an objective eye across lots of different stories, rather than trying to come up with these ideas and worlds alone.

Dionne Farrell

Adura Onashile’s Expensive Sh*t encapsulates the idea of screening unseen lives – is that part of what you relished about the film? It gives us a lens into a world that we don’t really get to see on screen. Onashile makes the person who is usually in the >> 19

O F F-S E T

shadows the main protagonist, which I think is really meaningful because there’s definitely a version of the film that is told through the eyes of the white characters. Modupe Adeyeye’s central performance as Tolu is also stunning and so compelling. The shooting of Lizard was able to provide opportunities to a community of Nigerian creatives. What is the value in this kind of cross-cultural exchange? Lizard is a piece that’s really originated by its director Akinola Davies Jr and is very personal in many ways. In terms of it being shot and set in Nigeria, it was about honouring that story and Akinola’s vision. As the BBC, we have to make British films and support British filmmakers, but I think the idea of Britishness is quite malleable and you lose something if you are not able to tell British stories that aren’t set in Britain. We’re such a multicultural and multi-ethnic society that not everyone’s frame of reference is going to be something that needs to be set and told in the UK. We’d be missing out on so many brilliant stories if we weren’t able to make these films! What do you think makes short films so powerful and appealing? It is a really unique medium because you have so little time to tell the audience what’s going on, get them to invest, and Expensive Sh*t

O F F-S E T

Dawn in the Dark

blow them away. I think the challenge but also the joy of great short films is only having to communicate one idea. Runyararo Mapfumo’s Dawn in the Dark, for example, is just a beautifully sensitive portrait of a young girl on the precipice of grief. Lizard is about a young girl who starts to see beyond or beneath the surface of her community; it’s thrilling in terms of that build and escalation. If you only have 15 minutes to watch something, then what better way to spend your time than discovering a great short film and a great filmmaker. What would you say to empower Black creatives involved in or thinking about getting involved in the film/TV industry? Whatever you want to do in this industry, whether it’s telling stories or helping people to tell those stories, your voice is valuable and necessary. I’m also seeing a

lot of great people creating communities or networks for themselves. These can comprise of people who you go to for advice or for a shoulder to cry on; people that can help to lift you up when you’re not able to do that yourself. You can find that anywhere and it can surprise you sometimes who those people are. Something like S.O.U.L. Fest is a great community to be a part of! Christopher Deane n

Lizard

TRACKING

Are We Black Enough? Earlier this year, Daniel Kaluuya (pictured) made history as he became the first Black British actor to win an Academy Award, for his portrayal of Fred Hampton, the chairman of the Illinois chapter of the Black Panther Party, in Judas and the Black Messiah (2021). Kaluuya’s win highlights how far he has come as an actor in a

relatively short period of time. As the first Black British actor to win an Academy Award, it also, however, recalls the familiar discussion on the place of Black British actors in Hollywood. In a 2017 interview with New York radio station Hot 97, Samuel L. Jackson criticised the casting of Black British >> 23

TRACKING

David Oyelowo in Selma

actors in roles about American race relations, directly calling out the decision to cast Kaluuya in Get Out (2017) and David Oyelowo in Selma (2015). His comments stemmed from the thought that the experience of Black people isn’t universal – specifically that Black British actors cannot fully portray the African American experience because they haven’t lived it themselves. To a degree Jackson is right – Black people aren’t monolithic and each individual person’s experiences are their own. What he seems to forget, however, is that racial inequality, racial injustice, and racial discrimination are not exclusive to the US. Another facet of the argument is the idea that Black British actors are cheaper than their African American counterparts – 24

a sentiment shared by Jackson that also appeared in Spike Lee’s series She’s Gotta Have It (2017-2019). In Season Two: Episode Five, the protagonist Nola Darling, debates the impact of Black British actors in Hollywood, at one point describing Black British actors as ‘cheap’ and ignorant of their own history, suffering from Stockholm syndrome. The clip sparked outrage and criticisms on social media, most notably from Black British actor John Boyega who, after seeing the viral clip, simply retweeted ‘trash’. There is a certain level of hypocrisy within this argument as African American actors are also repeatedly cast in roles portraying other cultures and nationalities. For example, both Don Cheadle in Ocean’s Eleven (2001) and Forest Whitaker in The Crying Game (1992) play British

TRACKING

Jennifer Hudson in Winnie Mandela

characters, while Denzel Washington in Cry Freedom (1987), Morgan Freeman in Invictus (2009), Jennifer Hudson in Winnie Mandela (2011) and Angela Bassett in Black Panther (2018) all play African characters. Furthermore, the conversation around Black British talent in the US tends to ignore a fundamental issue: the UK film and television industries have historically been much less inclusive to Black and mixed-race performers. The fact that many Black British actors feel that they have more opportunities in the US demonstrates that there is a problem with the industry here. On the other hand, if there aren’t enough diverse roles available in the US to encompass both African American and Black British actors then there is something wrong there.

With Kaluuya having received many criticisms over his casting to play Fred Hampton, it is clear this discussion is far from over. Now, months after the film’s release, subsequent success, and an Oscar under his belt, will things change? Has it with Cynthia Erivo playing Aretha Franklin after nominations for her Harriet Tubman portrayal? Maybe, maybe not. We know one thing won’t change: actors from the US and the UK will continue to be cast to play people from all walks of life, regardless of nationality or place of birth. So, while the conversation may not end, maybe it will start to shed light on the bigger picture and stop ignoring problems with the industry at large simply for the purpose of making Black British actors look bad for doing their jobs. Louise Giadom n 25

SNAPSHOT

S.O.U.L. Fest Awards Welcome to S.O.U.L. Fest Awards, in what is our inaugural year of recognising Black excellence on screen. We are excited to bring you six categories, and would like to congratulate all the nominees for their outstanding work both in front of and behind the camera. We hope you will join us in celebrating the amazing work which has been produced over the past year and that you will enjoy the ceremony! The categories and nominations are:

Best Short

Best Director

Rear View Daniel Rands

Jennifer Martin TEETH

TEETH Qila Gill

Daniel Rands Rear View

Blue Corridor 15 Tobi Kyeremateng & Ias Balaskas

Patrick Hollis The Photograph

Best Performer

Best Screenplay

Lanre Malaolu The Conversation

Daniel Rands Rear View

Jennifer Martin TEETH

Dubheasa Lanipekun Blue Corridor 15

Daniel Rands Rear View

Patrick Hollis The Photograph

Outstanding Craft Award Stephanie Okoye

Outstanding Impact Award Menelik Shabazz

SNAPSHOT

Shorts programme

Blue Corridor

LOCK OFF

Blue Corridor 15

LOCK OFF

Northern Ballers

Rear View

Northern Ballers

Rear View

Dir. Rhys Aaron Lewis | Documentary | UK | English | 2020 | 19 mins In a deprived neighbourhood in inner city Leeds, a group of teenage boys come together for the first time to form a basketball team and compete in the British Junior National League whilst following their problems on and off the court.

SNAPSHOT

Say Something Then

TEETH

Say Something Then

TEETH

The Conversation

The Photograph

The Conversation

The Photograph

Dir. Patrick Hollis | Experimental | UK | English | 2021 | 9 mins Penny is having a mental breakdown, exacerbated by the Covid crisis and is attempting to access help. Her condition is brought into sharp focus by her retreat into her Junior School class photograph.

SNAPSHOT

Filmmakers

Jide Olaofe

Akwasi Poku

Dubheasa Lanipekun Daniel Rands Blue Corridor 15

Rear View

Jennifer Martin

Lanre Malaolu

Patrick Hollis

Rhys Aaron Lewis

Say Something Then

TEETH

LOCK OFF

The Conversation

The Photograph

Northern Ballers

S.O.U.L. Fest Symposium August 21, 2021 12pm: S.O.U.L. Fest 2021 Selected Shorts 2.30pm: From Soul To Screen – In Conversation with Nathan Bryon and Adjani Salmon 3.30pm: Awards Ceremony & Menelik Shabazz Tribute Best Short Award sponsored by DV Talent

Start your own

Do you love the magic of cinema? Do you want to share the films you love with your community? Set up your own volunteer-run cinema with Cinema For All! Cinema For All is the UK’s lead organisation for volunteer-led cinema. We can help you learn all you need to get started with your own community cinema or film club, as well as supporting you along your entire journey, including: • Training and bursaries • Access to low cost film hire • Access to low cost equipment hire all over the UK Plus much more including: • The Cinema For All Podcast — a celebration of going to the cinema. • The Community Cinema Conference — a weekend of film screenings and training

DO YOU HAVE A GREAT IDEA FOR A DOCUMENTARY? The Whickers fund original and innovative documentary using the generous legacy of our namesake, pioneering broadcaster Alan Whicker, to support emerging film and audio documentary-makers across the globe. Up to £100,000 available annually via the Film & TV and Radio & Audio Funding Awards. Free to apply and available internationally. whickerawards.com @whickerawards

Image: Film & TV Award Winner, Akuol de Mabior admiring her trophy

Cinema has the power to change people’s lives. Help your community reconnect post-lockdown through the magic of community cinema. Contact us for friendly and enthusiastic support and advice on info@cinemaforall.org.uk or visit www.cinemaforall.org.uk for a wealth of information, case studies and resources. Alternatively, visit mycommunitycinema.org.uk to find your nearest volunteer-run cinema.

VOICEOVER

Ailey Directed by Jamila Wignot, Ailey documents the life of the gifted dancer and choreographer, Alvin Ailey. Through archival footage, interviews with friends and colleagues, and the narrating voice of Ailey himself, we journey through decades of his life and work.

The film begins in the present day, showing the rehearsal process, led by choreographer Rennie Harris, for a 2018 homage to the late founder. This reminds us that the work of Ailey lives on in the legacy he created through his unique style of dance. Each step and movement that the dancers make carries what Harris terms the “physical history” of dance. Wignot describes Ailey’s dances as “celebrations of African American beauty and history [which] did more than move bodies; they opened minds.” 32

One particularly prominent work was ‘Revelations’, created in 1960 when Ailey was 29. ‘Revelations’ presents the historical experience of African Americans, from slavery, baptism, to church celebrations, utilising the spiritual ‘Wade in the Water’. This was the signature work for the Alvin Ailey American Dance Theatre, which was founded in 1958, four years after its namesake moved to New York City.

Ailey’s origins before the formation of his dance theatre lie at the core of his work. Born in rural Texas, in 1931, during the Great Depression, he states that he remembers his mother washing the floor of the homes of wealthy white families, and drifting with her “looking for someplace to be”. At twelve, he and his mother moved to Los Angeles, where Ailey was able to

VOICEOVER

Alvin Ailey performing

discover theatre and dance. After watching his first ballet, which he described as being a “whole new world”, he was immediately drawn to dance. Harris describes Ailey’s connection to his African American spirituality as being part of generational “blood memories” that act as the anchor for his work. The memories of his childhood in Texas, of the church, of the blues – each form an element in his creations. Ailey created a company that was described as one of “the most important contemporary dance companies in the world.” He was incredibly successful, and his work was routinely met with critical acclaim. However, this did not prevent the struggles of the man who was notably very private. His mental health deteriorated to the point where

he was taken by ambulance to a mental institution, following the unexpected death of his close friend Joyce Trister in 1979. He struggled with self-loathing, questioning whether people loved him, or loved what he represented. His physical health also started to worsen. We know now that it was caused by AIDS, however, due to the stigma and perception as a ‘guilty disease’, it was never confirmed by Ailey to the public. Ailey’s death caused us to lose one of the most brilliant visionaries in twentieth century dance, but this documentary allows us to bring his work, life, and memory to the forefront. Mojola Akinyemi n Ailey is released in UK Cinemas coming soon from Dogwoof. 33

SAM JENKINS- SOUND ASSISTANT TRAINEE SCHEME ALUMNI 2020

CHARLOTTE SCOTT-GRAYCAMERA ASSISTANT TRAINEE SCHEME ALUMNI 2014

MARVYN MARQUES- COSTUME ASSISTANT TRAINEE SCHEME ALUMNI 2017

NICK POOLE- CAMERA ASSISTANT TRAINEE SCHEME ALUMNI 2014

EARLEATHA OPPON- PRODUCTION ASSISTANT TRAINEE SCHEME ALUMNI 2019

ZOE ALZAMORA- PRODUCTION ASSISTANT TRAINEE SCHEME ALUMNI 2020

JOSH WARD- SOUND ASSISTANT TRAINEE SCHEME ALUMNI 2014

KATRINA AUST- EDIT ASSISTANT TRAINEE SCHEME ALUMNI 2015

NATHANIEL JACOBS- EDIT ASSISTANT TRAINEE SCHEME ALUMNI 2018

MARK BULL- CAMERA ASSISTANT TRAINEE SCHEME ALUMNI 2015

OUR TRAINEE SCHEME- NURTURING TOMORROW'S TALENT SINCE 2011

PROPS

Well-Seasoned

Remi Weekes

As Black people, we add seasoning not only to our food, but also to award ceremonies with our unique style, flavour and grace. We’ve been around the block a few times so there’s not much left to surprise us that we might feel is overdue – or, to stretch the analogy, feel underdone. In 2021, the BAFTA and Academy Awards both made headlines for the diversity of their nominees. While, this time, the ceremonies evaded hashtags like #OscarsSoWhite, with 16 of the 24 actor nominations at the BAFTAs being people of colour, the stats did not necessarily translate into awards. Big wins on both sides of the pond included Ma Rainey’s Black Bottom (2020) and Judas and the Black Messiah (2020), with Daniel Kaluuya winning his first Oscar for Best Supporting Actor in the latter. Clear winner of this category, it does, however, beg the question of

why lead co-star LaKeith Stanfield was nominated in the same category – who exactly did Kaluuya do such a brilliant job of supporting? Nevertheless, Stanfield’s nomination contributed to the film’s five Academy Award nominations and became the first production in the Best Picture category with an entirely Black cast. More firsts came from Mia Neal and Jamika Wilson, who became the first Black woman to win the Academy Award for Best Makeup and Hairstyling for their work on Ma Rainey’s Black Bottom. The film also received awards for Best Costume Design but missed out on any acting awards. Neither Chadwick Boseman, who was selected posthumously for his first BAFTA and Academy Award in the Best Leading Actor category, nor Viola Davis were awarded the Academy Award for Best >> 35

PROPS

Actor or Actress in a Leading Role. Both non-victories came as a devastating blow as many had predicted the award would go to actors of colour. At least, the shortfall of acting triumphs was recovered in the music categories. Alongside winning Best Animated Film, Soul (2020) won the Academy Award for Best Original Score, with composer Jon Batiste also winning his first BAFTA in the same category. Meanwhile, H.E.R. shared an Oscar with D’Mile and Tiara Thomas for Best Original Song for Fight for You from Judas and the Black Messiah. This year, the BAFTAs continued to be increasingly diverse in their nomination line-up and winners. One of the bigger wins went to Remi Weekes for Outstanding Debut by a British Writer, Director or Producer for his work on His House (2020) – an addition to the recently growing output of Black horror films. The evening also saw Bukky Bakray winning the EE Rising Star Award, the only publicly voted award, for her leading role in Rocks (2019). While moves towards inclusivity are welcomed, the ongoing reality of the lack of diversity is exposed by the proliferation of ‘firsts’. Chloé Zhao, who won Best Director for Nomadland (2020), is, for example, the first woman of colour and second ever woman to attain the award. Bukky Bakray

Progressive change appears to have been made, but ultimately will it marinate and continue? Naomi Phillip n

SONY PICTURES RELEASING INTERNATIONAL AND STAGE 6 FILMS PRESENTCASTINIGN ASSOCIATION WITH A24MUSIA KICLLER FILMS,COSTUMERAMONA FILMS, AND GIGI FILMS PRODUCTI ON A FILM BY JANICZA BRAVO TAYLOUR PAIGE RILEY KEOUGH EDITED DIRECTOR OF NICHOLASEXECUTIBRAUNVE ARI’EL STACHEL AND COLMAN DOMINGO “ZOLA” BY KIMPRODUCEDCOLEMAN, CSA BY MICA LEVI DESIGNERDERICA COLE WASHINGTON BY JOI MCMILLON, ACE PRODUCTIDESIGNERON KATIE BYRON PHOTOGRAPHY ARI WEGNER PRODUCERS A’ZIAH “ZOLA” KING JE NNIFER KONAWAL DAVID KUSHNER BY CHRISTINE VACHON DAVID HINOJOSA DAVE FRANCO VINCE JOLIVETTE GIA WALSH KARA BAKER ELIZ ABETH HAGGARD BASED ON BASED ON THE SCREENPLAY DIRECTED THE ARTICLE “ZOLA TELLS ALL: THE REAL STORY BEHIND THE GREATEST STRIPPER SAGA EVER TWEETED” BY DAVID KUSHNER TWEETS BY A’ZIAH “ZOLA” KING BY JANICZA BRAVO & JEREMY O. HARRIS BY JANICZA BRAVO AT CINEMAS NOW © 2021 BIRD OF PARADISE. ALL RIGHTS RESERVED.

EXPOSITION

C A N D Y Yahya Abdul-Mateen II

EXPOSITION

Most horror fans will be familiar with the story of Candyman, a supernatural killer, with a hook for a hand, and the sweet honey smells he carries when summoned by those who dare to repeat his name five times in a mirror. However, the urban legend, turned cult classic, is being reimagined in a new film, out this year. The screenplay is co-written by Get Out’s Jordan Peele and directed by Nia DaCosta, a rising star in Hollywood, most known for Little Woods and directing two of Top Boy’s episodes. DaCosta’s rendition was described by Peele as a ‘spiritual sequel’ to the 1992 film of the same name, directed by Bernard Rose, and based on the short story ‘The Forbidden’ by Clive Barker. It follows the young baby from the first

M A N Nathan Stewart-Jarrett (left)

film, Anthony McCoy (Yahya AbdulMateen II; HBO’s Watchmen, US), who is now grown up and working as a visual artist. Ten years after the last of the old housing projects were torn down, McCoy returns to Cabrini-Green to live in one of the now gentrified apartments with his girlfriend Brianna Cartwright (Teyonah Parris; If Beale Street Could Talk, The Photograph). After learning about it from an old resident (Colman Domingo; Zola, Ma Rainy’s Black Bottom), and as part of a bid to revive his career, McCoy becomes obsessed with the legend of ‘Candyman’ to the point of his detriment. Just as with the original, DaCosta’s incarnation of the original story presents as more than just a slasher with occasional jump scares. It stands for something much deeper. Peele cited the original film as ‘a landmark film for Black representation in the horror genre.’ Now DaCosta takes up the mantle of Black representation, made even more poignant by the lived experiences of Black people in 2019, with the resurgence of the Black Lives Matter movement. Speaking on Juneteenth, a holiday to celebrate the day that slavery was abolished, DaCosta recounts her thought process during the filming of Candyman that, much like Juneteenth, it is a story of the ‘duality of the Black experience in America’; that it is at once ‘a celebration of us, of life, of freedom’, but also ‘it’s incredibly difficult >> and there’s a lot of pain’.

EXPOSITION

Teyonah Parris

This is exacerbated by the dark origin story of the titular character, his role reprised by Tony Todd, who was the freed son of an enslaved man that was brutally murdered for falling in love with a white woman, only for his vengeful ghost to come back and take the life of a journalist that reminds him so much of his past lover. The decade-long span of the Cabrini-Green haunting serves as a constant reminder of the darker side of humanity, but also, as DaCosta said; “the truth of the pain behind Candyman. In reality, we made monsters of men all the time.”

performances, including British actor, Nathan Stewart-Jarrett (Misfits), and in the case of Tony Todd and Vanessa Estelle Williams, are reprising their roles from the original, adding to the cyclical nature of the film. And indeed, this is a film that communities of the past and present are bound to love.

The cast is full of rising stars that have delivered devoted and genuine

Candyman is released in UK Cinemas on 27 August from Universal Pictures.

It is clear from Nia DaCosta’s past successes that this most recent project is well worth the wait, and that DaCosta herself is only just getting started. Drew Chateau n

Celebrating 50 years of the NFTS

StandOut

in the Film, TV and Games Industry

As one of the top film schools in the world, we want to effect meaningful and lasting change by ensuring the NFTS reflects the full diversity of our country and that our students and graduates are represented across all areas of the industry. The NFTS strives for lasting and systemic change, resulting in a more multi-racial UK film, television and games industry for generations to come. Generous scholarships and bursaries are available. The Toledo Scholarship enables talented newcomers from the UK’s ethnic minorities to study with us. Since its inception, over 30 scholars have benefitted from the funding including writer/director Shola Amoo (The Last Tree) and producer Kurban Kassam (Ginger and Rosa).

Apply now at

nfts.co.uk

TRACKING

Jamika Wilson on Ma Rainey’s Black Bottom

TRACKING

Making

WAVES

Black Makeup and Hair Designers have been making waves in the film and television industry for years – as recognised by this year’s awards season. While Mia Neal and Jamika Wilson won an Oscar for their work on Ma Rainey’s Black Bottom (2020), the British Independent Film Awards saw Nora Robertson receiving a nomination for her work on Rocks (2019) and Sharon Martin receiving a nomination for her work on His House (2020) – alongside getting nominations from the Hollywood Makeup Artist and Hair Stylist Guild, and being shortlisted for an Oscar, for her work on Jingle Jangle (2020). But, with high profile actors like Viola Davis and Lamorne Morris making headlines this year for the hair discrimination they faced on Hollywood sets, how much change still needs to be demanded from film and television hair and make-up departments? Nora, what was it like designing hair and make-up for Rocks? Nora: Rocks was unique in that all the

actors were street-cast. I wanted to make them feel comfortable and not too heavily made up. The brief was to be realistic and natural, so it was a collaboration with the cast and director. They loved having their edges laid, and with beautiful skin, it is a joy to see their characters come to life. Sharon, what was it like designing hair and make-up for His House and Jingle Jangle? Sharon: His House was a great opportunity to collaborate and bring my creativity to the project, researching the various tribal scarification and being a part of creating the monster and other ghostly looks. Jingle Jangle was a gift. My key thing was that the hair of this Black cast should be showcased in all its textures – no straightening, relaxing or conks. I’m very focused when it comes to work, but I kept getting emotional working on Jingle Jangle, and I realised the images being created were deep and personal to me. The reception that the film has had so far has confirmed that. Representation on screen is very important. >> 43

TRACKING

Nora Robertson

Is the industry becoming more welcoming to representing natural hair on screen? Sharon: Definitely. The natural hair movement has been a large part of that. We have more Black cast turning up with natural textured hair, and they have a voice and are being heard. Nora: Yes, it is. The diversity on screen requires it, therefore the education for working with it is needed. Do you think it’s becoming expected that all hair and make-up artists should be able to cater for Black talent? Sharon: It has become quite a big thing at the moment. Our Black on-screen talent are rightly demanding to be treated equally. This is the backlash off #OscarsSoWhite and #BaftasSoWhite. The industry now has to work backwards to service the onscreen talent. 44

Sharon Martin

Nora: There is a lot more diverse talent on the screen and these young actors are very vocal – they know that they have the power to make their own programmes and say who gets hired to cater for their needs. What does Mia Neal and Jamika Wilson’s Oscar win mean to you? Sharon: We celebrate them. In 2021, the headline was sadly not focused on the beautiful work created by the artist, but the fact that it’s the first time a Black artist is winning the award. It’s great to have made a start. What we want is a level playing field, so Black makeup and hair artists are not a novelty. We have work to do. Nora: I hope that in years to come headlines will recognise fantastic makeup designers for their craft, not primarily highlighting their race. Hannah Shury-Smith n

THE

RUGGEDS

15-18 SEPT.

BETWEEN US “ E F F O R T L E S S LY E N T E R TA I N I N G ” T H E T I M E S

FOCUS

To u c h y Subject Michaela Coel’s I May Destroy You (2020) was revolutionary in its exploration of sex and consent. But, as recent allegations against Noel Clarke demonstrate, behind the scenes, consent remains an issue. Step in Intimacy Coordinators like Joshua Okpala (This Is Going To Hurt, Anatomy of a Scandal) who nurture and facilitate the creation of intimate scenes… 46

How did you get involved in intimacy coordination? I had a conversation with my acting agent at New Wonder Management, who also represented Lizzy Talbot, the Director of the Intimacy for Stage and Screen organisation. I trained directly under Lizzy and became an ISS certified Intimacy Coordinator.

FOCUS

Why is the role of an Intimacy Coordinator so important? In light of the many horrific incidents that have recently occurred in the industry, it’s important that we have a role to advocate, protect and safeguard performers by enforcing boundaries and consent. In fight scenes, actors aren’t actually being punched, but in scenes containing intimacy that physical action is real – in the words of Tonia Sina, “the emotions are real, but the situation is fake.’’ If this is not managed correctly, the experience may cause trauma both during and after the scene is finished. Do you think that the industry embraces Intimacy Coordinators? I've worked with some lovely directors who agreed that we wanted the space to be a safe environment for the performers where consent and boundaries are adhered to. However, I think some directors may feel our presence might be imposing on ‘their’ space, especially if they’ve been doing the work for years. I envision that in the near future (hopefully) the role of an Intimacy Coordinator becomes mandatory for scenes pertaining to intimacy. The majority of Intimacy Coordinators are white women – do you think it’s particularly important to have Black men like yourself working as Intimacy Coordinators? It's important not just for Black men but also all genders and identities to work as Intimacy Directors and Coordinators.

There are many different stories of intimacy to be told and, whilst I strive to depict and cultivate authentic scenes of intimacy, I’m not blind to the fact that there may be someone else better suited to nurture the creation of a particular intimate scene. It’s important that this role isn't gatekept and is instead made more accessible and diverse. Hopefully with that we’ll begin to see greater diversity in the depiction of intimate scenes on both stage and TV/film. What next steps should readers interested in becoming Intimacy Coordinators take? You can get in touch with Intimacy for Stage and Screen via their website. Other routes include taking the accredited courses, but a focus on movement training as well as courses for mental health, first aid, conflict resolution and psychological first aid is also useful. Hannah Shury-Smith n

Joshua Okpala Opposite: I May Destroy You

Directors UK is delighted to support S.O.U.L. Fest 2021

Directors UK is the professional association for screen directors working in the UK. As well as negotiating rights deals and collecting and distributing royalties to our members, we promote excellence in the craft of directing and campaign for change to the current landscape to ensure the creative industries are a fair and safe place for everyone to work. If you’re a professional director, connect with us and find out more about joining our community:

One of you, many of us.

FADE TO BLACK

Xxxxxxx

Menelik Shabazz (1954 - 2021)

Menelik Shabazz, the award-winning film director and a founding father of UK Black cinema, died recently due to complications with diabetes. A spokesperson for his family said: “It is with great sadness that we announce the passing of our beloved father, brother, partner and uncle Menelik Shabazz, age 67. Menelik was a passionate film maker and forged the way for many black filmmakers. We thank you all very much for your messages of condolence. We have been touched by the tributes from

those that knew him, worked with him, and were inspired by his work”. The Guardian stated the sad news was confirmed by Shabazz’s daughter, author and curator Nadia Denton, who said that the director had indeed passed away in Zimbabwe. Shabazz, a pioneer of the UK Black filmmaking industry, was known for his much-acclaimed debut feature, Burning an Illusion (1981), which along with Franco Rosso’s Babylon (1980), and Horace Ove’s Pressure (1976), were among >> 49

FADE TO BLACK

the first films in which Black people in the UK were able to see nuanced and balanced versions of themselves. Before the release of these films, Black Londoners had been invisible, or at best, seen through the white gaze of the time. Shabazz’s offering was arguably the first film that gave Black women an authentic voice. It made stars of its cast, including Cassie McFarlane, Victor Romero Evans, and Malcolm Fredericks and helped shine a light on the journey of a Black dreamer. Shabazz was a prolific director, writer, and producer born in St. John, Barbados in 1954. He came to the UK at a young age passing through the school system before studying at North London College and later London International

Film School. Here he fell in love with the artform, finding himself behind the camera telling the stories he was unable to find elsewhere. With a career spanning over 40 years, Shabazz became an important voice in the introduction and advancement of Black cinema in both the UK and across the world. He was known for creating what he could not see, such as his early works where the narrative and psyche of the Black British experience were laid bare by characters with agency and multiple facets. Shabazz’s well-received first short, Step Forward Youth (1977) was followed in 1981 by Burning an Illusion which won the Grand Prix at the Amiens International Film Festival in 1982. It was one of the

Burning an Illusion

FADE TO BLACK

first ever feature films by a Black director produced in the UK. The now cult classic is still shown in educational establishments across the UK and Europe. Shabazz later founded BFM Media and BFM Magazine as a mouthpiece for an industry without one. The company focused on providing a platform for new and established filmmakers to connect with their fanbase and each other. BFM held regular networking festivals and events allowing Black writers, producers, and filmmakers from all over the globe to come together and share ideas in a safe creative space. In 2011, Shabazz produced the acclaimed documentary, The Story of Lover’s Rock starring Janet Kay, Dennis Bovell, Maxi

Priest, Paulette Harris-German, and UB40. It told the story of the Lover’s Rock musical genre. Conceived in the Caribbean and born in the UK, Lover’s Rock or ‘romantic reggae’ truly defined the soundtrack of the tumultuous time between the 1970s and 80s where Black people all over the country were developing their own music styles. Inspired by reggae with a hint of British flavour, Lover’s Rock became a mainstay at house parties up and down the land. Shabazz examines its origins and inspirations paying respectful homage to its creators and purveyors in this wellloved piece. May he rest in peace. Roger Ajogbe n

The Story of Lover’s Rock

Never be afraid to reach out to someone In 2020, we helped more than 8,000 people working behind the scenes. We know that working in film and TV can be tough. Thanks to the generosity of people across the industry, we offer free and confidential emotional and practical support, to anyone who needs it. All our support services can be accessed through our 24-hour Support Line 0800 054 00 00. Find out more and make a donation at filmtvcharity.org.uk #WeAreFilmandTV The Film and TV Charity is a registered charity no: 1099660. A company limited by guarantee. Registered in England and Wales no: 4816786.

START YOUR LEAP ON A FIRM FOOTING Supporting Clients to mobilise new business initiatives with purpose, intelligence and empowerment info@pottingerhind.com

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SCHEDULE

S.O.U.L. Fest Screens

S.O.U.L. Fest Symposium

BFI Southbank

10:00 – 16:00

Aug 20: Rebel Dread

Zoom Webinar Series with Film Industry Experts

Aug 21: Ailey (UK Premiere) Aug 22: Candyman (Exclusive Preview)

Aug 18: ScreenSkills – Move Over With Mentoring Panel

S.O.U.L. Fest Screens

Aug 19: Get Crafty Panel

Picturehouse Cinemas Aug 18: Lizard (BBC Film Short) + Tainted Canvas (UK Premiere) Aug 19: Expensive Sh*t (BBC Film Short) + Zola Aug 20: Dawn In The Dark (BBC Film Short) + The Sit-In: Harry Belafonte Hosts The Tonight Show Aug 21: The People’s Account Aug 22: Summer of Soul

Aug 19: Sitting In With Sony Pictures II – Creative Diversity Fund Panel Aug 20: ScreenSkills Pro-Create (Finance Module III) – Pitch Perfect Masterclass Aug 20: Gaming Panel Aug 20: Kelly Edwards Workshop Aug 21: Boy, Do I Have An Idea Surgery Aug 22: Black Costume Network Panel Visit www.soulfilmfest.co.uk for more information on how to watch or book.

Dawn in the Dark

CLOSING CREDITS

S.O.U.L. Fest would like to thank Stuart Brown, Jen Smith, Rico Johnson-Sinclair, Noel Goodwin, Mark Reid, Liz Parkinson, Melanie Hoyes, Nilan Dharmadasa, Kimberly Sheehan, Kiran Dhanoya, James Rocarols, Manon Euler, Hannah McHaffie and the rest of the BFI staff for their outstanding support. Also, Neeta Patel, Amrita Roy, Laura Adams, Charlotte Tudor, Ijeoma Akigwe, Natalie Tandoh, Jane Saunders, Kate Gardiner, Emma Hewitt, Laura Igiehon, Paul Bowman, Nicola Lees, Natasha Anderson, Toyin Ayinde and Amber Muotto. Supporters

Funders

Venue Partners

Editor – Priscilla Igwe Assistant Editor – Hannah Shury-Smith Sub-Editor – Edwin Stoltz Graphic Designer – Danielle Humphrey Picture Researcher – Naomi Phillip Editorial Assistants – Una McKeown, Christopher Deane Writers – Hannah Shury-Smith, Una McKeown, Drew Chateau, Christopher Deane, Mojola Akinyemi, Roger Ajogbe, Louise Giadom, Naomi Phillip.

“THIS YEAR’S GET OUT” UNILAD

S.O.U.L. Fest 2021 Brochure

Articles inside

Closing Credits

Fade To Black: Menelik Shabazz

Focus: Joshua Okpala

Schedule

Tracking: Making Waves

Off-Set: BBC Film

Tracking: Are We Black Enough?

Off-Set: Rebel Dread

Cutaway: Black Is Queen

Exposition: Summer Of Soul

Exposition: Candyman

Voiceover: Ailey

Props: Well-Seasoned