Leicester, 1972. T-Rex are chewing up the charts and Jack, a mixed race teenager with a lot more than schoolwork on her mind, has a hectic month of growing up to do. This is coming-of-age, Midlands-style: forget the Prom, corridor passes and making out at the drive-in. Think Baked Alaska, the Colgate ring of confidence and sneaky cigarettes behind the bike sheds.
When we first meet Jack it's the day of her first period and just four weeks before she has to run the race of her life for a place on the county athletics squad. Convinced she is champion material, her bullish PE teacher, Mr Loughborough, is piling on the pressure to train hard, and buys her a long-coveted pair of swanky red trainers to demonstrate his commitment.
But a 13-year-old's life is not just one long 200 metres: Jack shines in academia and art class as well as on the track, and she's got her eye on a rather handsome classmate called Steven Green. Sex, 'frigging' and the big 'V' are the subject of every school bus seminar and playground pow wow. And Jack's mum Vivian is determined to keep a beady eye on her daughter's new-found interest in matters carnal. Vivian is also convinced her daughter is about to be offered a cocktail of class A drugs on every street corner.
While on a school cross-country run up to the local tourist trap and nookie spot, Jack is approached by Spanner, a David Cassidy look-alike with a nice line in cannabis consumption and floppy hair. He introduces Jack to the delights of getting slowly wasted in the sun. Meanwhile Jack's best friend Maxine sets her pal up in a garage tryst to do the deed with Steven Green and his spotty mate Poor Bastard. But the three of them are disturbed by a local policeman. By now determined to throw off her cumbersome virginity, Jack steals a handful of contraceptive pills from her mum's bedside cabinet and finally gets together with Spanner...
Nimi leads a relatively peaceful life amongst the female dominated Nigerian community in a picturesque coastal town in southern France. Life consists of working as a landscape gardener, looking after her eight year old son Sammy and attending exuberant masses at the local African church. Nimi's unmarried status (and son) are frowned upon by her traditionalist neighbours and her mother Nene is very keen to marry her off to confer her with respectability. When the handsome Reverend Fola moves into town and shows interest in Nimi, it is like a godsend for Nene who desperately attempts to get the two together.
Nimi's son Sammy, however, has other ideas. He has confused writer Matthew, the creator of his beloved comic action hero Saracen, with his heroic creation and deems him a much more suitable match than the Reverend Fola for his mother. He tries at length to persuade Matthew to marry his mother instead, using every means at his disposal to unite them.
Against their expectations, love blossoms. Although Nimi has resigned herself to marriage to the rather unexciting Reverend Fola, she is intrigued by Matthew. However, she is also very aware of Matthew's married status, distrust of women and general unwillingness to commit to a relationship. In contrast, Matthew is drawn to Nimi not just for her beauty, but the stability of her African way of life and an innate goodness which throws him completely off-guard.
Yoman's Dance, a contemporary London story, investigates how a young Senegalese man with a lack of English, copes in the cosmopolitan metropolis. The central theme of the story is Yoman's battle to overcome his inability to express and articulate. Not naive to the difficulties of moving to a new and foreign city, and armed with a complex history and optimistic attitude, Yoman is well able to meet the many challenges that face him. However, the constant wear of misunderstanding climaxes with the failure of his first short lived encounter, which leads to a final sense of isolation.
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.
(London Film Festival)
A British-born younger son of an immigrant family from Trinidad finds himself adrift between two cultures in this groundbreaking depiction of
second-generation experience in 1970s London. Horace Ové's PRESSURE, Britain's first Black feature film, now restored by the BFI National Archive.
Official Selection BFI London Film Festival 2023 and Official Selection New York Film Festival 2023 - joint Restoration World premiere
