afrow

Black Girl on the Front Row!

Category: CINEMA

“Bros: After The Screening Stops…”

I was never going to sleep, after a documentary like that!!

A richly, visual statement-of-intent, of two, larger-than-life-sized personalities, whose high-definition, practically perpendicular, emotional narratives could barely be contained within the confines of a physical cinema frame, in super-surround sound… but could only, ever, have been retold upon it…

The culmination of twenty-four months worth of painstaking preparation, five months worth of seventeen-hour days, in meticulous editing and a close-shave with divorce, the outcome is an absolute masterclass in audiovisual story-telling, executed under the distinctly genius co-direction of David Soutar and Joe Pearlman.

From the opening gambit, a volcanic eruption of an expletive-filled argument, “Bros: After The Screaming Stops” is, often, as devastatingly shocking to the system as an arctic ice-bucket challenge, with frequently frosty exchanges, to match… a fraught insider’s guide into a restless sibling rivalry, revisited, in agonising detail, en route to the most significant concert series of their lives… a career-redefining reunion!!

Set against the backdrop of being one of the most successful British bands of all time, the doors to the lives of Luke and Matt Goss, aren’t just flung open, but positively, blown off, to reveal the devastating effect of personal tragedy and charts the grossly unfair vilification from a media-machine, ravenously ready for new fodder, at the merest sign of a preconceived “dip” in chart positions.

Skilfully-crafted, so as to keep you constantly poised on the knife-edge of your psychological seat, it is the scattered remnants, strewn upon the battlefield of historical fall-out, woven into the contextual highs, lows, turning points and epiphanies, that has you rooting for these profoundly sensitive souls, fighting to co-exist, once again, determined to be heard and fiercely passionate about emerging with a relationship, purged of the poison that tore them apart, so cataclysmically.

Were this a mere petri-dish observation of the behavioural tendencies of twin brothers, you could, perhaps, maintain a, somewhat, clichéd distance… In fact, a lesser offering might have been exactly that… but, in being, documentary, first, with the aspirational by-product of intensely pleasing the fans, it is a truly impacting, non-patronising, non-judgmental exploration of life, on an epic scale.

Quite frankly, they’ve been judged enough and so, this is Bros, 30 years later… setting the records straight, in dynamic, heart-breaking, glorious technicolour. They are not boys. Not highly-conceptual living images, becoming, literal, pop art, growing up in front of the piercing eyes of a fast-paced, global hit-factory, called the Music Industry… Not apprentices, on, arguably, the most public on-the-job training course…

No. Emphatically, not.

Years have passed.

These objets d’art have evolved into men. Now 50. They are forces of nature… Even more impressive Artists, reinvented and rebirthed, in their own right, albeit, predominantly Stateside, due to the haranguing experienced in the place that they should always have been able to call “Home”.

The reconstruction phase has made for bolder, braver, artisanal entrepreneurs, with extensive bodies of work, who are no longer slaves to fear of reprisals… Having cultivated their respective and respected creative careers in, both, music and film, to exponential critical acclaim, they know who they are, what they have to bring to the table and, most crucially, we see that they have the captivating ability to articulate it… No matter how raw the consequential exchanges, in order to do so…

Whether or not you have this foreknowledge, it is clear that the pressure release-valve has, long been, much needed.

The chance to spill their guts. To tear the plasters off emotional wounds, cut the callouses and learn to heal… Much like Luke’s hands, as he relearnt the drums… remembered the joy of playing and rediscovered how incredibly gifted at it, he is. As if driving out demons with every strike on the skins of the, Christmas-come-early, kit… he crashes cymbals and beats out bass rhythms as if, not only the heartbeat of the musical set, but his life depends upon it… Meanwhile, as Matt seems mired by the subliminal strangle-hold of serpents, wound around his vocal chords, post another communication collapse…his commitment to authentically deliver, no matter what, is spine-tinglingly inspirational and puts a lump in your own throat. At times, barely breaking-even, when attempting to perform songs (the candid nature, of which, harshly rake over the coals of, nigh-on unbearable, memories), serves to facilitate their family bond, which gets them through the contempt of familiarity.. and has them surmounting it all, so tenderly and touchingly, together

Yes, this is their opportunity to tell it like it is, on their own terms… and boy, do they take it.. and, boy, how privileged are we, for the first-hand access to every twist and turn!

Of course, there is light relief… There has to be… and it is immensely welcomed!

Coupled with capturing their lives through multiple lenses, tiredness from the relentless schedule tends to precipitate Matt’s most magical moments to camera… from anecdotal musing, over 7-hour man-scaping sessions… to public service announcements about the need to play conkers without goggles, he is the younger… the playful, puppy-like energy, with a deep-rooted desire to ensure that all around him are happy, especially Luke… the elder, with a more self-contained, yet no less rapier-sharp, glint-in-the-eye, wit.

There are also beautifully lucid descriptions of the journey, from both…

Pontificating about the metaphorical road upon which he and his Brother are travelling, Matt has a way of clutching at the air, as if to catch the ideas which hover in his divergent and visionary thought process. Luke has a wonderfully pragmatic and linear manner of soul and self-expression, citing their collaborative experience as two people, each with a brush, trying to paint onto one canvas…

…which makes it all-the-more important for them to do so, within the rehearsal space… the arena for most of their tussles for creative territory… or the green rooms of television studios… both, of which, see Matt and Luke crumble like the very old wall in their lyrics…. and makes them all-the-more remarkable, for their selfless ability to shelve conflict, when meeting with their precious M.G.A (Matt Goss Army) and L.G.A (Luke Goss Army)… The long-time devotees who have, admittedly, been their constant, through the proverbial and material wind, rain and sunshine of their lives.

It is an astonishing resilience and composure, reminiscent of that which they were forced to develop, literally overnight, after receiving the devastating news that their dear sister Carolyn had tragically passed in a car crash…. and again, after the earth-shattering loss of their beloved Mother despite her valiant battle against cancer.

This, for me, is where the documentary, further, comes into its own.

Sharing their sorrow, the distress is undeniable, the tears, tangible… Yet, the sheer courage to be so vulnerable, sets them apart, as superhumanly strong.. It is deeply humbling and admirable…with a cathartic power that is palpable and pure. From high stakes to high hopes, you cannot counterfeit these feelings of carrying dangerous dynamite, on a, seemingly endless, bumpy road.

Nor can you deny them the triumphant ending… and why would you?!!

Two unforgettable nights at the O2, which sold out in a record-breaking, number-of-completion, 7 seconds, cap-off a rapturous return to the height of the music game, without game-playing… proof positive that this pain-through-the-pixels is the acute birth pang of regeneration… that such pain, can and does, become Purpose.

What is even more evident, is that we are seeing the most promising incarnation of Bros, yet….

They have lived up to the past, broken through its spectres and exceeded expectations.. and by the film’s conclusion, you feel that, as the band-entity and, moreover, as Brothers, they should, never again, exit the stage, separately… and you trust and believe, that, having survived this warts-and-all bootcamp, they won’t ever let that happen…

…they won’t ever allow such rupture through disruption to be felt again, because they are a re-united front, who are stronger than ever

Therefore, see this, perfect pitch-ure of reconnection, as a matter of priority

“Bros: After The Screaming Stops” is no ordinary documentary… but, then again, the Goss Brothers are no ordinary siblings… pigeon-hole these fine examples of spiritual ambassadors at your peril… They have been, misguidedly, typecast and underestimated before… and just look at the extraordinary legacy which is following them, now..

As one proud Brosette tearfully declared, even if the world-at-large wouldn’t tell them, they are so loved… and with new music and a 2019 tour on the way, I can categorically state that, after the screening stops and the most beautifully empowering lessons begin, within

…the screaming and the legends, themselves, continue…

…Long may they reign!

 

 

© A_F_R_O_W2018-2019. All Rights Reserved.

~

Click-thru to:-

See “Bros: After The Screaming Stops” (In Cinemas: 09/ 11/ 2018)

Buy “Bros: After The Screaming Stops” (On DVD/ Digital Release: 12/ 11/ 2018)

Interact with “Bros: After The Screaming Stops

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“BROS: After The Screaming Stops”

It is said that one never gets a second chance to make a first impression.

Of course, the original conjugation was in an offline sense. However, on Thursday 30th August, the prevalence of the spike of a certain set of digital impressions was impossible to ignore…

Permit me, friends, to extrapolate the lead-up because, as PR campaigns go, leave alone those of social media ilk, this was inherently stylish, oozing less-is-more class, with the consummate ease of an haute couturier, in preparation for Fashion Week.

All vision, no sound, rendered the volume icon redundant… a pleasant rejection from the “so yesterday“, consumptive trend, concurrent with today’s computer-crammed society. Now, do not get me wrong, friends, for communication, being my wheelhouse, the efficiency of modern modes of connectivity are a blessing… and yet, I appreciated the fact that there was no need for tech savvy… None of it. Instead, picture after picture of conjoined moving imagery was presented, over consecutive days, fuelling the driving momentum of an imminent announcement.

In a countdown where sneak peeks of practiced paradiddles, raw, frame-gripping grief and a, final, stance of brotherhood, from an onstage p.o.v, piqued increasing interest, each tantalising taste of things to come culminated in the revelation that the highly-anticipated documentary of “BROS: After The Screaming Stops” was, not only, available for pre-order, but had also gained BFI-accredited feature status, and was destined to be premiered at the upcoming, London Film Festival… arguably the most prestigious of its kind, upon the creative calendar.

Thus, the method of keeping the quiet out had been encouraging silent-movie engagement… creating the mental space for us to listen to our own internal reactions to the visuals, whilst also engendering empathy of the impact of the deafening nature that such silence brings, both, post-show and in everyday life.

You see, friends… I told you it was classy!

The Twitterverse was sent into a, veritable, hashtag-frenzy and I even think that I heard the echo of screaming, onset by the epic news… I, further, expect the flurry to continue, until ticket lines go live… partnered with the unadulterated glee at the successful purchases, thereof… although that might just be a self-fulfilling prophecy of she who is currently tapping away upon the keyboard, on the other side of your screen!!!

What I know, for sure, is that this meticulous exposition, directed by David Soutar and Joe Pearlman, will bear the grit behind the glamour, the art and the graft, will challenge and cheer, and signify the ultimate exploration of a bond of brothers, brought to the brink and back…

For no-one knows it, like these men in the arena, but after taking such an authentic tour with Matt and Luke Goss, after the screaming stops, I’m fully confident that a rapturous round of applause will start… the script of documentary-making will change and the incremental effect will continue to be felt, for some time to come.

 

©A_F_R_O_W2018-2019. All Rights Reserved

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Click-through to:-

Pre-order “BROS: After The Screaming Stops” before general digital release on November 12th 2018.

For further information about the film’s cinematic release on 9th November 2018 at www.brosthefilm.com .

For BFI ticket information and updates regarding the London Film Festival Premiere on 17th October 2018.

Further Social Media Links:-

@BrosTheFilm ~ @Fulwell73 ~ @mattgoss ~ @LukeGoss ~ @BFI

#AfterTheScreamingStops ~ #BrosTheFilm ~ #LFF ~ #LondonFilmFestival

 

‘TriForce Short Film Festival’ Tri-umphs!

So here’s the thing

I have had the enduring privilege of being invited to some of the most fascinating events… You’d think, therefore, that I would be used to the build-up…Used to the checklists, verifying the wardrobe, charging-up the tech (and the back-up memory)…But the night before my first ‘TriForce Short Film Festival’, I was a flurry of excitement…a whirligig of anticipation…a New Year bonfire, just waiting to rocket into the a new creative atmosphere!!!

I couldn’t sleep, for all of my pre-performance giddiness…and I loved it! Thus, on all of 5 hours stillness, because I couldn’t drown out my thumping heartbeat, I Fosbury-ed out of bed, with first-day-at-school vigour… utterly ready to get into my prêt-a-porter, Festival mode, chomping-at-the-bit to record this amazing moment!

Destination: BAFTA.

My journey was seamless… The skies were crystal-clear blue, the air, icicle-fresh…the public transport, compliantly on-time! I reached Green Park a full hour before show-time…well, I did say, I was excited, didn’t I?!)…which gave me precious time to indulge in looking at Piccadilly, truly seeing the stunning architecture which our beautiful town has to offer, as well as hearing the vivid, criss-crossing sound-waves of a.m. life.

With such engagement, I might have walked a bit beyond the hallowed building… Okay, so I did(!)… but, on turning back, my curiosity to look above entrances for the cornucopia of Christmas adornments, flounced like scalloped-edged skirting, took my gaze to the BAFTA mask, in all of its glory…

I sent an internal text from heart-to-head, that the passenger-carrier of ‘me’ had successfully transported the passenger of ‘me'(again) to the desired point of disembarkation! (By this time, a little less than an hour early…though, no less full-of-beans!)…

Deep breath in… I entered…

To the left, a welcoming-hall of mirrors and a delightfully well-dressed tree….a stylish elevator and signs, which read like the New Year’s Honours List, to every dedicated floor…and, en face (literally), the face of the BAFTA insignia, announcing you ascend the stairwell-to-an-artistic-new-world… walls scattered with quotes from such luminaries as Mark Rylance (who has since been given the nod with a Knighthood!)…

By now, I would have been a wreck, were it not for the fact that absorbing the winding-wisdom, had much lulled my adrenalin levels, which was a blessing, since the next Crystal Maze-like task was to speak! Having successfully utilised my five seconds and nailed remembering who I was… I took my place within the space, The David Lean Room, to be exact… Loving every square metre of its thespian fabric! It would, categorically, be the perfect theatre of operations…and all ours for one glorious day…and eve!

As if applying the soft luminescent makeup for a perfect headshot, sunlight streamed in from Piccadilly and, as I heard the delectable Minnie Ayres breathe a hearty welcome, was introduced to the amazing TriForce Team and confirmed interview, I began to take baby steps around my new home! No sooner had my exploration commenced, than Jimmy Akingbola appeared, putting paid to my momentary oasis of calm, due to enthusiastic discourse about the event!

Forget the steps, I was like a Jackie-out-of-the-box, and as I rounded the corner, began acquainting myself with partnering organisations, who I quickly ascertained were absolute bedrocks of the Creative Industries. From ‘The Institute of Videography’ to ‘BECTU’ to ‘Creative Skillset’ and ‘Mama Youth Project’, each and every one had, at its foundation, the mission of resourcing creatives to live their dreams and continue to follow them, since there were avenues to facilitate them at every stage. Having gained an invaluable amount of knowledge and as seminar attendees arrived, I could only imagine the personal narratives that they would be taking away with them…

So thought, so announced… Seminar 1 was about to take place….and yes, I was that one who had all of her coloured biros at-the-ready, copiously taking Pantone-esque notes (from the frow, naturellement!)…and, thank goodness for the London Design Biennale Leuchtturm1917, which was still going strong from September, as, with each discussion, it soon became perfuse with a spectrum of words!

What a profound collection of contributions were made by Baff Akoto (Director) and Shola Amoo (Writer/ Director), regarding the ups and downs of surviving as a Freelance Director and the journey of funding a feature, from Camille Gatin (Producer), Dionne Walker (Writer/ Producer), Kristen Irving (BFI Development Executive)… Each session urging listeners to know their identity as film-makers and look to cast their creative nets as widely as possible, in order to catch the necessary finances!

Interspersed were all shortlisted films and finalists, themselves, pockets of dynamism and unswerving examples of artists (in front and behind the camera) who knew exactly who they were and what their objectives were meant and made to be. In the collective time of less than a full-length feature, attendees became audience members, taken on evermore perpendicular emotional and visual Big Dippers!

Amongst the awesome entries were ‘Take The Chocolate (Don’t Give Up)’, which was a charming window-into-the-world of sharing and caring, between children, whilst ‘Harriet and the Matches’ was a marvellous, if not subliminally disturbing, combination of animation and reality! ‘I Believe In Pink’ caused universal intakes of breath, on observing the painstaking tattooing of the lips of Lagos men in the most fuschia pink hue, so as to be socially accepted… ‘The Dead Sea’ evoked raw tears and anger in many (including myself), as we witnessed, in stark detail, the sheer, inhumane cruelty of migrant detention centres… The poignancy of ‘Glow’, told through the lateral-thinking of four best friends, who devise a way to take the cancer-stricken member of the group to see the Aurora Borealis, meant film and title were bound in cinematography and significance. The final three would go on to win ‘Non-Scripted’, ‘People’s Choice’ and ‘Best of the Fest’ Awards, respectfully…and deservedly so!

Whilst the last seminars covering walking-the-walk of diversity and working across both Film and TV genres ensued, I had left the fabulous screening room and was back at home-base, in order to interview Minnie and Fraser about the entire venture. Each wonderfully complemented the intel of the other – she, with the latest news and live stat updates, that they had exceeded the previous year’s attendance figures, he, regaling the deeply intense desire to be ‘an experience company’ and what that would entail as time went by…. They dovetailed seamlessly, not only as integral parts of the TriForce Team, but also, as an incredibly inspiring creative couple.

On that note, as members of the daytime schedule flooded back in, I absorbed the wave of anticipation for what was to come, before heading off to Mayfair, to collate, pontificate, ‘check the gate’ (which was good!) and make ready the next slates for scenes two and three, namely, the Awards Gala and Afterparty at Century, Soho!

***

Past midnight…(and then some!)… I emerged from the club, having danced one of the coolest ‘Electric Slide’ formations in a lo-o-o-o-ng time, completed the Mannequin Challenge, held lively chit-chat with an assemblage of artistic brilliance and laughed until I cried with them, too!

In any other situation which leaves me speechless, ‘no words’ would be my chosen phrase. However, I had been veritably embraced by them, and substantially more, during such felicitous hours… That being said, I’ll leave the summation, in part, to Actor/ Director, Xavier Dolan, who says, ‘Filmmaking is something you think alone, but do together’*…

…and complete it by declaring that ‘The TriForce Creative Network’ undoubtedly proves that theory and is ‘Helping People Happen’ by, relentlessly, doing just that!

©A_F_R_O_W2017-2019. All Rights Reserved.

***

Visit TriForce Creative Network for further information about:-

TriForce Short Film Festival ~ TriForce Monologue Slam ~ TriForce Writer Slam ~ TriForce Productions

Visit the following TFSFF/ Industry Expo Partners for more information about their respective organisations:-

BECTU

THE INSTITUTE OF VIDEOGRAPHY

CREATIVE SKILLSET

MAMA YOUTH PROJECT

NATIONAL FILM AND TELEVISION SCHOOL

HIIVE

SHINE MEDIA

*Quote source: CNN Masters At Work 02/12/2016

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Fervent Afrow-Appreciation to all at TriForce and Premier PR for giving me the opportunity to partake in this truly life-changing experience!

2-4-1 Ticket Bonanza at BFI!

I think it’s time we talked ‘December’, friends!

No, not the fact that it’s the twelfth month of the year, but that it’s time to get your ‘Christmas’ on!!!

 So, heads-up, because December’s BFI schedule is bursting-at-the-seams, like a well-fed guest, post-Christmas lunch!

With personal appearances from Danny Glover, Sir Lenny Henry and Ashley Walters, to a Desmond’s cast reunion featuring Trix Worrell (Creator-Director), Carmen Munroe and Robbie Gee…From fantastic panel discussions on such topics as the concept of Black Beauty in cinema, to chances and challenges for BAME artists within the entertainment industry…PLUS screenings, screenings, screenings and MORE screenings spanning classic comedic turns from Eddie Murphy in ‘Beverly Hills Cop’ to the feelgood melodrama of ‘Waiting To Exhale’…bases are covered for film-buffs-to-fashionistas-to-first-timers!

Now here’s the cinematic-science bit!

 To redeem the 2-4-1 ticket offer, you must quote ‘STAR241’ when booking online, in person or by phone (020 7928 3232). The code CAN be used more than once but the offer ONLY applies to the purchase of two tickets for the SAME film. The offer EXCLUDES previews and special events.

For Under-25’s, it’s £3 on-the-door at BFI Southbank, for any film, at any time (including previews for new releases and big-screen classics)!

Just click-thru  below to add to the reason-for-the-season this ‘Giving Tuesday’ and get some early gifting sorted!

Enjoy!

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BFI BLACK STAR DECEMBER SCHEDULE

Under 25’s Tickets T’s and C’s

(Ticket Offer information and T’s and C’s correct at time of going to press). 

©AFROW2016-2019. All Rights Reserved.

The TriForce is strong with this Creative Network!

T.C.N.

An acronym, small in letters, but big in ambition.

If I were to mention it, you might not know what it stood for, but the people behind it certainly do, for this triumvirate of capitals signifies the ‘TriForce Creative Network’, an absolute, organisational antetype, rather than a copy-and-paste prototype. Founded by Actors and best friends, Jimmy Akingbola and Fraser Ayres, to be an edifying agency of change within the Creative Arts arena, it has at its core, a strategy which promotes diversity, inclusivity and access, via multi-disciplinary collaboration, innovation and support of, both, emerging and developing artistic talent.

Achieving such altruistic objectives demands optimism, idealism and pragmatism and the use of compound creative outlets, allows the Network to manifest its goals. For example, beneath the umbrella of T.C.N, reside the ‘Monologue Slam U.K.’, ‘Writer Slam’, ‘TriForce Productions’ and ‘TriForce Short Film Festival’, each serving to concretise an infrastructure, generating definitive opportunities for independent talent to shine (whether performance or production), in addition to encouraging increased audience engagement.

With such an ambitious ethos, it was the best of times, then, to attend the press launch of this year’s ‘TriForce Short Film Festival’, not only to learn more about the imminent December 3rd event (to be held at BAFTA H.Q), but also to view the UK premiere of Jessica Oyelowo’s stunning directorial debut, ‘After The Storm’.

From the lively Q and A session, it was an sheer joy to uncover how the fruit of the seed sown in Edinburgh 2004, by “creatives who wanted to open up Arts”*, was going “beyond labels…beyond the term ‘BAME'”*…an utter delight to ascertain that, a wide variety of categories, such as; ‘Family Values’, ‘A Question of Identity’, ‘Non-Scripted’ and ‘Microshorts’, within the competitive film-making element represented this by, yet again, producing a truly exceptional shortlist (expositions, of which, will be seen on the day and at the evening Gala).

Being able to dream dreams and pursue them as a bonafide profession will also be explored, via an ‘Industry Expo’, with a unique selection of seminars, to be hosted by the multi-talents of Reggie Yates and Charlene White, and keynote speeches from the likes of industry-leaders, ‘Shine Media’, ‘4Talent’ and ‘Creative Skillset’. Further endorsing the effectiveness of the sessions was last year’s ‘Best-In-Fest’ winner, David Kitchen. Enthusiastically attesting to their importance, he highlighted them as “so informative…[because] you get to speak to people…, [so] even if you don’t win, you still feel a part of a network.” In fact, making connections and forging friendships, led to the Director being able to call upon those very contacts, within the year (2015-16), resultant in his film now being developed into a three-part television series and a feature! (Cue audible gasps of excitement from the screening-room audience!).

My mind began racing…

…If concentrating on career development could work for adults, I had to inquire as to whether there might be the opportunity for an educational roll-out of such a bold initiative. Minnie Ayres (Actress and T.C.N Company Director), ebulliently explained that, being free to submit entries, the ‘MicroShort’ section was particularly popular with under-18’s. She also revealed the idea of expanding the entry-age of the ‘Monologue Slam’ competition, extending the reach of showcasing untapped acting excellence.

My heart leapt!

A mere 24-hours after an election, which seemed to have contracted global hope, here was TriForce, an outstanding network of understanding that navigating myriad creative pathways with ongoing support has never been more crucial… a shining beacon of an organisation, nay, a Family, which is not only proving itself to be game-changing within the Arts Industry but, undoubtedly, life-changing!

©A_F_R_O_W2016-2019. All Rights Reserved.

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TRIFORCE SHORT FILM FESTIVAL 2016

DATE: DECEMBER 3RD ~ LOCATION: BAFTA, 195 PICADILLY

SCHEDULE & TICKETS

TFSFF 2016 SHORT LIST

@TriForceFest    ~ @TriForceEvents

TriForce Creative Network

TRIFORCE MONOLOGUE SLAM

@MonologueSlamUK   

*Quote: Fraser Ayres (Post-Screening Q and A)

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Sincere Afrow-Appreciation to Minnie Ayres and Sophie Spirit for organising the invite! Super-congrats on a fantastic launch!

To Nollywood…and Beyond!!!

If ever there were a time to discover the wonders of Nigerian Cinema, it would be now!

Having spanned film-making from its colonial era through to the present day, the sector, more affectionately known as ‘Nollywood’, has steadily risen in global influence, both creatively and financially, to become a record-breaking, billion-dollar industry.

Today marks the eagerly-awaited arrival of ‘Beyond Nollywood’, an eclectic three-day programme representing the BFI’s ever-popular strand of ‘African Odysseys’, specially-curated by Nadia Denton, author of ‘The Nigerian Filmmaker’s Guide To Success: Beyond Nollywood’. Beautifully-amalgamated into the current ‘Black Star’ Season of screenings and events, the weekend delivers a tantalising selection of top-tier cinematic talent, scaling diverse genres and themes, showcased in back-to-back UK, European and World Premieres. (Of particular note is ‘I Believe In Pink’, directed by Victoria Thomas which, only last week, was announced as a ‘TriForce Short Film Fest’ Finalist).

As ever, with BFI schedules, the events won’t be all ‘show’! A one-off ‘In Conversation’ with acclaimed Nollywood actress, Nse Ikpe-Etim and Film-maker/ Director Q-and-A sessions with Abba T Makama, Tope Oshin and more, will offer the opportunity to delve further into the process from script-to-screen… and there will be the chance to revel in some sweet Afrobeats in the Riverfront terrace!

Now if that isn’t something to tell everyone about, I don’t know what is!

Enjoy!

©A_F_R_O_W2016-2019. All Rights Reserved.

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African Odysseys present: Beyond Nollywood runs from Friday 18th November through to Sunday 20th November at BFI Southbank as part of the BFI Black Star Season. Click-through for tickets and times!

#BFIBlack Star   ~   @BFI

‘Hip-Hop Hoora-a-ay… Go-o-o-o!!’

It’s MOBO-time!

Right. This. Very. Minute!

Laura Mvula has opened the Glasgow get-together with inimitable, idiosyncratic, audiovisual aplomb, Craig David’s just won the award for Best Male (chapeau!)…and (having given the night-shift a go!), congenial Kiss FM DJ-duo, Melvin (Odoom) and Rickie (Haywood-Williams) are event hype-men, introducing the whole soirée (and cutting a rather fine dash) in traditional Scottish finery… and yes, we are talking tartan and kilts…the whole nine yards!

It’s also MOBO-time at BFI Southbank as, in association with Sonic Cinema, the film strand of the aforementioned music awards organisation, presents a special weekender, namely, ‘Set It Off: The Birth of Hip-Hop Stardom’…and it’s in full swing… Yes, you’ve guessed it…

RightNow..!

So, if discovering when and where the crossover of hip-hop ‘triple threats’ began to take definitive cinematic root, you feel like ‘gittin’ funky’ and breakin’ out your best ‘Kid-n-Play’ (high-top fade not necessarily required…but, all good, if you already have one!)…or both, then get-on-down to London’s Southbank… (You know the drill)…

Right… Now…! ¡Ahora mismo…! Maintenant…!

Tonight, scintillating DJ Sets, will be provided by ‘Spin Doctor’, ‘Mo Fingaz’ and ‘Russ Ryan’ of ‘Doctors Orders’ collective, whilst tomorrow’s wheels-of-steel-whizzkids will be the ‘Work It’ crew. All happens in the fantastic ‘Benugo Bar and Kitchen’ until 1-in-the-a.m. so there’ll be plenty of time to make the most of the ‘joint Hip-Hop Weekender ticket offer’, take in some major movies (including ‘Friday’, ‘Juice’, ‘New jack City’, ‘House Party’) and/ or bust some major moves!

Whatever you do, enjoy every moment!

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Event Schedule/ Tickets:-

‘Set It Off: The Birth of Hip-Hop Stardom’ can be found at BFI Black Star!