Here to Be Heard: The Story of the Slits

Director: William E. Badgley

Year: 2020

The story of Don Letts, a first generation Black British cultural mover and shaker, filmmaker, musician and raconteur. The film frames Don’s story with the Enoch Powell Rivers of Blood speech in 1968 and the “hostile environment” immigration policy of 2018. That’s the backdrop and the context of Don’s life – trying to find a place in the world. So we cover his relationship with the nascent punk scene – how rastas and punks found a common bond, both outside the mainstream, and how he introduced dub reggae to the punks. How he became part of the inner circle of the Clash, and how Johnny Rotten took him to Jamaica. He then became a top promo director (London Calling, Chain Gang, Pass the Dutchie) and then he formed a band, Big Audio Dynamite, with his old friend Mick Jones and made music that incorporated dance, reggae, rap, film samples and rock n roll. On leaving BAD Letts became a feature director, won a Grammy for his documentary WESTWAY TO THE WORLD: THE STORY OF THE CLASH, and is now a leading cultural commentator.

Director: Lauren Gee

Year: 2024

Documenting and celebrating the Black British female roller-skating community, showcasing its long history and fixture within popular culture. Blurring the boundaries between documentary and music video, this experimental film reveals the expansive network of London’s Black skate scene through two key individuals that share their stories and delve into what this space and their skate crews and mentors provide them. This joyous exploration gives visibility to a subculture that to many outsiders is unknown but is made familiar through its nostalgic lens which pays homage to the sports DIY and music-led roots. Official Selection Trinidad and Tobago Film Festival 2025

Director: Saddiq Abubakar

Year: 2026

In isolation on Iceland’s Snæfellsnes Peninsula, Nigerian-born modular synthesis artist Colloboh transforms glacial and oceanic recordings into sonic compositions - uncovering a dialogue between ice and sea that reshapes his understanding of consciousness, ecological collapse, and humanity’s place within both. As his process unfolds, Colloboh transforms these sounds into layered sonic works that blur the boundaries between observation and communion. The film culminates in a haunting gesture: he plays the completed composition back to the landscape itself, completing a dialogue between artist and environment. A meditation on impermanence, consciousness, and the fragile bond between humanity and the natural world.