Looking for movies, shows, games, or books similar to BaadAsssss Cinema? Check out these recommendations on mosaic.
Fantôme Afrique, weaves cinematic and architectural references through the rich imagery of urban Ouagadougou, the centre for cinema in Africa, and the arid spaces of rural Burkina Faso, and is punctuated by archival footage from early colonial expeditions and landmark moments in African history. Renowned choreographer and dancer Stephen Galloway (Ballet Frankfurt) and actor Vanessa Myrie (Baltimore) figure as ‘trickster/phantom’ and ‘witness’ in this carefully composed meditation on the denationalised, de-territorialised spaces born of the encounters between local and global cultures, where the ghosts of history linger amid the realities of the day
Over 30 filmmakers and friends of Strand Releasing have come together to honor the company’s indelible contribution to independent cinema over the past thirty years. The participating filmmakers have each created a short film for the project, all shot on iPhones.
Two disc jockeys have a friend's murder to solve in the fringe-group melting pot of 1977 London.
Playtime’s cosmopolitan spectacle, presented in a kaleidoscopic montage across seven large screens, interconnects the lives of its archetypical characters—hedge fund managers and art world players in London; a photographer in Reykjavik; and a Filipina houseworker in Dubai—each of whom is based on a real-life individual directly affected by the market collapse.
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.
The multiple screen installation and photographic series A Marvellous Entanglement (2019) traverses a collection of Lina Bo Bardi’s most iconic buildings, offering a meditation on the work and legacy of the visionary modernist architect and designer (1914–1992).
Derek, in chronological order, records the work and life that stands at the foot of Derek Jarman's humour and spirit of being an artist. The filmmaker and actress, Isaac Julien and Tilda Swinton respectively, have produced and narrated a film on his life whereby the use of language is perpetuated to give some type of palpable meaning to British audiences alone, and to their own personal relationship with him.
Loosely inspired by the story of the black American explorer, Matthew Henson (1866-1955) who accompanied Robert Peary and was one of the first people to reach the North Pole, later writing an account of his experience. In this fragmented narrative, Julien contemplates on ideas and histories of the hierarchical as well as in the struggling figure we find a succinct metaphor of endless traversing, symbolizing the voyage of the modern that has to be experienced by others.
TEN THOUSAND WAVES is a 9-screen installation shot on location in China. The work poetically weaves together stories linking China’s ancient past and present. Through an architectural installation, the work explores the movement of people across countries and continents and meditates on unfinished journeys. Conceived and made over four years, TEN THOUSAND WAVES sees Julien collaborating with some of China’s leading artistic voices, including the legendary siren of Chinese cinema Maggie Cheung; rising star of Chinese film Zhao Tao; poet Wang Ping; master calligrapher Gong Fagen; artist Yang Fudong; acclaimed cinematographer Zhao Xiaoshi; and a 100-strong Chinese cast and crew. The film’s original musical score is by fellow East Londoner Jah Wobble and The Chinese Dub Orchestra and contemporary classical composer Maria de Alvear.
Two bumbling government employees think they are U.S. spies, only to discover that they are actually decoys for nuclear war.