This spiritual successor to the 1942 original explores the vibrant yet tumultuous growth of Britishness over the past century. The film gives voices to a new reality of Britain, one that has been formed through the flourishing multiculturalism the country has seen since the original film was made. Academics and artists are interviewed to explore both past and present, and consider what a future Britain may look like.
Himself
Herself
Himself
Herself
Himself
Himself
Himself
War - Documentary film depicting the attack by Allied forces on the Japanese strong-holds of Arawe Beach and Cape Gloucester, New Britain, in the South Pacific theatre of the Second World War in 1943. - Leo Genn, Burgess Meredith, Anthony Veiller
At the demise of empire, City of London financial interests created a web of offshore secrecy jurisdictions that captured wealth from across the globe and hid it behind obscure financial structures in a web of offshore islands. Today, up to half of global offshore wealth may be hidden in British offshore jurisdictions and Britain and its offshore jurisdictions are the largest global players in the world of international finance. How did this come about, and what impact does it have on the world today? This is what the Spider's Web sets out to investigate.
"Mexico begins where the roads end ”. Mexican writer Carlos Fuentes tells us about the history of Mexico: its invasions, its revolutions, its sacred lands, its forgotten legends, its religious rituals and this frightening misery. François Reichenbach and his camera sink into the dust, on this sacred land, where "the land never ends."
Having been granted special permission to film inside one of the most secretive countries in the world, Britain's fastest snowboarder sets off to experience first hand this country we know so little about.
Shown as part of the BBC's Modern Times series. Think of England shows Parr talking to the many people he encountered in the summer of 1999. He innocently asked people what it took to be English, and this simple question provided many revealing answers.
"plant portals: breath" is an experimental meditation on the unspoken history many queer and trans people of colour carry daily, connecting bumblebees, colonial trauma, alternate universes and the complicated concept of "rest" to ask: Can nature heal us? Shot entirely on an iPhone, the film is intentional in imagining what is possible, and manifests a reality rooted in mindfulness.“
Professor Alice Roberts discovers which are Britain's most popular fresh foods and uses the latest science to uncover the surprising health benefits of our favourite foods.
Concerning Violence is based on newly discovered, powerful archival material documenting the most daring moments in the struggle for liberation in the Third World, accompanied by classic text from The Wretched of the Earth by Frantz Fanon.
This short satirical film, created entirely from archival footage, is about the British Empire—on which the sun never sets. The majority of the humour and wit is found in the interplay between image and sound: what we see during the formative days of the Empire, and what famous servants had to say about it. Edited by Oscar®-nominated experimental filmmaker Arthur Lipsett (Very Nice, Very Nice).
This BBC Three film follows the first all Asian girls’ cricket team over the summer holidays as they train for their last ever tournament together. The team started at school four years ago when their only experience of cricket was their dads and brothers watching it on the TV. In spite of this, they took to it like naturals and began winning almost all of the tournaments they entered. Last year they lost out on becoming National champions at Lords by only one run.
Featuring footage spanning from 1901 to 1985, this little-seen footage has been found from all across the UK. This programme allows an exploration into stories of migration, community and also the struggle against inequality, while also providing the opportunity to celebrate black British culture and life on screen. Films in the programme include: Miners Leaving Pendlebury Colliery (1901), Hull Fair (1902), For the Wounded (1915), From Trinidad to Serve the Empire (1916), Hello! West Indies (1943), Mining Review 2nd Year No. 11 (1949), To the Four Corners (1957), Black Special Constable (1964), Black Police Officers (1966), Cold Railway Workers (1964), Nigerian Wedding in Cornwall (1964), Coloured School Leavers (1965), London Line No. 373 (1971), African Student Families (1975), Liverpool 8 (1972), Blood Ah Go Run (1982), The Jah People (1981) and Grove Carnival (1981)
This documentary offers a deep, candid, and historical look at the Christian experience of America's largest and best-known tribes: the Dakota and Lakota. Its exploration into Native American history also takes a hard and detailed look at President Ulysses S. Grant's Peace Policy of 1873, which was, in effect, a "convert to Episcopalianism or starve" edict put forth by the American government in direct violation of its Constitution. The devastation it had on the values of the people affected were dramatic and extremely long-lasting. Grant's policy was finally ended over 100 years later by the Freedom of American Indian Religions Act in 1978. Interlaced with extraordinarily candid interviews, this documentary presents an insider's perspective of how the Dakota and Lakota were estranged from their religious beliefs and their long-standing traditions.
PsiQuis: Un Giro Decolonial is a documentary that presents and discusses the psychological impact that colonialism has had on the Puerto Rican people. The director analyzes the traumas generated in Puerto Rican society by that colonial experience.
Guyanese painter Aubrey Williams (1926-1990) returns to his homeland on a “journey to the source of his inspiration” in this vivid Arts Council documentary, filmed towards the end of his life. The title comes from the indigenous Arawak word ‘timehri’ - the mark of the hand of man - which Williams equates to art itself. Timehri was also then the name of the international airport at Georgetown, Guyana's capital, where Williams stops off to restore an earlier mural. The film offers a rare insight into life beyond Georgetown, what Williams calls “the real Guyana.” Before moving to England in 1952 he had been sent to work on a sugar plantation in the jungle; this is his first chance to revisit the region and the Warao Indians - formative influences on his work - in four decades. Challenging the ill-treatment of indigenous Guyanese, Williams explored the potential of art to change attitudes. By venturing beyond his British studio, this film puts his work into vibrant context.
Be. Belonging. Words on vintage flash cards shuffle past in a stream-of-consciousness that shows the mind working, assigning labels and names to things through love and language. In the space of a moment, perception embarks on an epic journey of tongues, through Cantonese and English sounds and Ektachrome memories that form the characters and identity of this American-born Asian filmmaker.
Augustus Northmore Welby Pugin is far from being a household name, yet he designed the iconic clock tower of Big Ben as well as much of the Palace of Westminster. The 19th-century Gothic revival that Pugin inspired, with its medieval influences and soaring church spires, established an image of Britain which still defines the nation. Richard Taylor charts Pugin's extraordinary life story and discovers how his work continues to influence Britain today.
Cheikh Djemaï looks back on the genesis of Gillo Pontecorvo’s feature film, The Battle of Algiers (1965). Through archive images, extracts from the film and interviews with personalities, the filmmaker retraces the journey of a major work - from the events of the Algiers Casbah (1956-1957) to the presentation of the Lion of 'Or causing the anger of the French delegation in Venice - which left its mark as much in the history of cinema as in that of Algeria.
Many times during his presidency, Lyndon B. Johnson said that ultimate victory in the Vietnam War depended upon the U.S. military winning the "hearts and minds" of the Vietnamese people. Filmmaker Peter Davis uses Johnson's phrase in an ironic context in this anti-war documentary, filmed and released while the Vietnam War was still under way, juxtaposing interviews with military figures like U.S. Army Chief of Staff William C. Westmoreland with shocking scenes of violence and brutality.
A documentary analyzing the furore which so-called "video nasties" caused in Britain during the 1980s.