In 1982, the Workshop Declaration made possible a new kind of independent cinema in the United Kingdom by allocating funding to a diverse range of collectives. Among them was the Sankofa Film and Video Collective, under the auspices of which
Isaac Julien made two of the most important works of his career,
Territories (1984) and
Looking for Langston (1989).
In
Territories, the Notting Hill Carnival offers Julien a chance to explore, as he puts it in the film’s voiceover, “Territories of desire, the control of one space, carnival, territory of resistance, sound systems, territories of surveillance of the mind.” Through a poetic montage, Julien probes Black British identity, experiences of racist policing, and the ongoing legacies of colonialism in a work of fierce contestation.
Made five years later,
Looking for Langston returns to the figure of Langston Hughes at the height of the HIV-AIDS crisis, putting the Harlem Renaissance author in dialogue with Black gay writers of Julien’s generation, such as
Hilton Als and
Essex Hemphill. Queer memory bridges time and space, as mourning and celebration conjoin in one of the most celebrated British films of the decade.
Curated by Erika Balsom
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