Black Britain Unspoken: How Warner Bros. Discovery and upcoming filmmakers are ‘Reclaiming Narratives’ this Black History Month
This month, we recognise and celebrate the rich history of black lives in the UK. With the theme being ‘Reclaiming Narratives’, it feels like the perfect time to highlight black stories that are surfacing recently, such as Black Britain Unspoken.
Black Britain Unspoken, part of Warner Bros Discovery (WBD) Access, showcases three films made by upcoming black filmmakers. The programme was created as a result of the tragic passing of George Floyd in 2020, provoking WBD’s Employee Business Resource Group, the Multicultural Alliance to come together and consider how the media sector could be made more accessible for black filmmakers.
Launched officially in 2022, Black Britain Unspoken provides filmmakers with a “pitch to production” experience, eventually leading to their shorts being released on discovery+. The three filmmakers chosen this year were Lauren Gee who directed Dancing on Road, Joladé Olusanya who directed mandem, and Donell Atkinson-Johnson, who directed Lloyd the Instructor.
Taking place at Picturehouse Central in Piccadilly Circus, Black Britain Unspoken established itself as the event of the evening, and potentially even the month. I entered the cinema surrounded by a community of black creatives, along with family and friends of the filmmakers. It was truly a celebration of black life and influence; a heartwarming way to start off Black History Month. All three films came with their own story and representation of Black British life, which is what makes this programme so special.
We began with Lauren Gee’s Dancing on Road, a story about a group of women who love to roller skate. Throughout the story, women of all ages refine their skating technique. We’re introduced to the many facets of roller-skating, as London is highlighted as an epicentre of new and old techniques, such as the signature “chop and shuffle”, and the “jam circle”. Gee emphasises the importance of community in Dancing on Road, as skating provides a space for black women to be uplifted and encouraged by their peers. Dancing on Road highlights beautifully black female subcultures in London, which have been overlooked by society for years.
Transported into a traditional classroom, Joladé Olusanya’s mandem concerns the history, significance and cultural relevance of the term ‘mandem’. Written across a chalkboard, the word is analysed in many different ways, with personal experience being crucial in understanding the word and its ties to friendship, community and the intersections of social class. Mandem is a key commentary into the rich history of Multicultural London English.
The final film shown at the screening was Lloyd the Instructor (directed by Donell Atkinson-Johnson), a powerful short that shows the dynamic between a first generation Jamaican driving instructor, and four brothers who he has taught to drive. One of the brothers, Dylan, is still learning to drive as we’re taken on a driving lesson with them. As the lesson progresses, we gain the perspective of both driving instructor, and learner driver on what it means to drive, especially as a young black man living in London. As all four brothers come together to share their experience with Lloyd, it becomes clear that he is more than a driving instructor; he’s mentor, a confidant and a peer. Lloyd the Instructor highlights the importance of driving lessons in young black lives; it’s a beautiful portrayal of a seemingly traditional driving system.
These three films came together to be an inspiring night at Picturehouse Central, where young black filmmakers were placed centre stage of the UK film industry. It also proved a timely event for both celebrating current black history, and also reflecting on our past. Historically, black filmmakers have made an impact in various ways across the UK. Horace Ove’s film Pressure (1976) is known as the ‘UK’s first black dramatic feature-length film’ in the Guinness Book of World Records, according to the BFI. His work was the first of many to challenge normative film standards, as the Independent Workshop Movement emerged soon after in the 1980s, where filmmakers were able to create bodies of work that challenged dominant ideologies in Britan, and give increasing representation into Black British life. Many films emerged in this era, such as John Akomfrah’s Handsworth Songs (1986) and Isaac Julien’s Looking for Langston (1989).
Black Britain Unspoken powerfully reflects this time, with arguably even more influence and reach thanks to Warner Bros. Discovery putting these films on their extensive platform.
To watch the short films, in addition to seasons 1&2 of Black Britain Unspoken you can go to Youtube or discovery+.
Edited by Emily Henman, Co-Film & Tv Editor
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