Event Date and time: Thursday, 8 December 2016 | 07:00PM – 10:00PM
Venue details: Black Cultural Archives | 1 Windrush Square Brixton | SW2 1EF London
Event cost: Free
BFI BLACK STAR and #BCAFilmFest present Unpacking Shoot the Messenger
#BCAFilmFest unpacks and examines the themes of identity and belonging in Shoot The Messenger directed by Ngozi Onwurah. Featuring David Oyelowo (star of Amma Asante’s ‘A United Kingdom’ & Ava DuVernay’s SELMA), Nikki Amuka-Bird (star of Andrea Levy’s ‘Small Island’) and Daniel Kaluuga (Roy Williams’ ‘Sucker Punch’) and set in South London, this provocative film tackles a host of challenging social themes, from inequalities in the British education system to homelessness and depression.
Ashely Clark, curator of the current BFI Black Star season and BFI Inside Afrofuturism and author of Facing Blackness: Media and Minstrelsy in Spike Lee’s Bamboozled.
Yvonne Ibazedo, producer of ‘Shoot The Messenger’, ‘Half Of A Yellow Sun’ and ‘Guerrilla’ on Sky Atlantic; and also production manager for Disney’s Queen Of Katwe.
Gaylene Gould, writer of WriteTalkListen.com, BFI Sight & Sound Magazine, and BFI Black Star Compendium. Gaylene also regularly contributes to BBC Radio 4, Front Row and curated work at TATE BRITAIN – The Land of Misplaced Memories and BFI Black World season.
‘British-Nigerian director Ngozi Onwurah blazed a trail as a bold, provocative new voice in British cinema with the 1995 release of her critically acclaimed film Welcome II The Terrordome – the first major UK theatrical release by a British Black/biracial female director. That same bold, provocative approach is employed throughout Shoot The Messenger, a film which garnered considerable controversy upon its original release in 2006. The question of what it means to be Black and British is prevalent throughout the film as its lead protagonist (played by David Oyelowo); a middle-class man in the midst of a deep crisis of non-belonging, struggles to define himself against the perceptions of a wider community. The film explores presumptions of love, family, race, class, religion and mental health.’