Long Road to Mazatlán

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.

No overview.

This highly stylized short asserts sexual desire over fear in gay romantic relationships.

An exploration of the homophobia expressed by reggae and rap artists againts gays and lesbians. Inludes interviews with rappers Shabba Ranks and Buju Banton, who cite religious reasons for their particular brand of homophobia.

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.

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.

Explores the life and work of the psychoanalytic theorist and activist Frantz Fanon who was born in Martinique, educated in Paris and worked in Algeria. Examines Fanon's theories of identity and race, and traces his involvement in the anti-colonial struggle in Algeria and throughout the world.

Territories is an experimental documentary about the Notting Hill Carnival. It locates the event within the struggle between white authority and black youth, in this case over the contested spaces of the carnival, and reflects on its history as symbolic act of resistance. The film makes the case using montage: cutting carnival scenes with archive news reports - police surveillance to rioting in the street - and crossing looks of desire with alienation, from police to reveller, woman to man, man to man. Add to this a disembodied, political critique and trenchant images of police violence and the audience soon becomes aware that the documentary itself is part of the resistance.

An experimental dance piece revealing the complex dynamics between two dancers and another woman.

Baltimore deals with the cinematization of video art, on the one hand, and a queering and racing of the museum, on the other. The film installation works as an intervention that attempts to address the creolising vision in the space of the gallery.