The Passion of Remembrance
| 导演： | Maureen Blackwood / 伊萨克·朱利恩 |
| 编剧： | Maureen Blackwood / 伊萨克·朱利恩 |
| 主演： | Anni Domingo 安东尼娅·托马斯 Ram John Holder |
| 制片国家/地区： | 英国 |
| 类型： | 剧情 |
| 语言： | 英语 |
| 年代： | 1986 |
| 片长： | 82 |
| 豆瓣评分： | 0 |
| 影伴评分： | 0 |
剧情简介
In their seminal, intersectional first feature, directors Maureen Blackwood and Isaac Julien incisively interrogate Black British experience, fusing dramatic scenes of family life with documentary and mystical elements, to give richly imaginative witness to a ‘post-colonial’ identity that encompasses generational, class, sexual and gender differences. Vividly manipulated footag... (展开全部)
In their seminal, intersectional first feature, directors Maureen Blackwood and Isaac Julien incisively interrogate Black British experience, fusing dramatic scenes of family life with documentary and mystical elements, to give richly imaginative witness to a ‘post-colonial’ identity that encompasses generational, class, sexual and gender differences. Vividly manipulated footage of urban unrest, police brutality, gay rights marches and the miners’ strike, alongside chopped-up sequences showing a buzzing London night life, are intertwined, creating a penetrating example of Sankofa’s disruptive critique of 1980s Britain. And it looks fantastic. The film screens in a simultaneous transatlantic premiere with the New York Film Festival.
In their seminal, intersectional first feature, directors Maureen Blackwood and Isaac Julien incisively interrogate Black British experience, fusing dramatic scenes of family life with documentary and mystical elements, to give richly imaginative witness to a ‘post-colonial’ identity that encompasses generational, class, sexual and gender differences. Vividly manipulated footag... (展开全部)
In their seminal, intersectional first feature, directors Maureen Blackwood and Isaac Julien incisively interrogate Black British experience, fusing dramatic scenes of family life with documentary and mystical elements, to give richly imaginative witness to a ‘post-colonial’ identity that encompasses generational, class, sexual and gender differences. Vividly manipulated footage of urban unrest, police brutality, gay rights marches and the miners’ strike, alongside chopped-up sequences showing a buzzing London night life, are intertwined, creating a penetrating example of Sankofa’s disruptive critique of 1980s Britain. And it looks fantastic. The film screens in a simultaneous transatlantic premiere with the New York Film Festival.
