A cinematic essay on race and civil disorder in 1980s Britain, Handsworth Songs takes as its point of departure the civil disturbances of September and October 1985 in the Birmingham district of Handsworth and in the urban centres of London. Running throughout the film is the idea that the riots were the outcome of a protracted suppression by British society of black presence. The film portrays civil disorder as an opening onto a secret history of dissatisfaction that is connected to the national drama of industrial decline. “To make sense of the debris in Handsworth, BAFC had to reconstitute the fragments, and in doing so, words, sound and image came alive in an audio/visual style.” 　　“The feeling of disjuncture is reflected not only in the jump cuts of the film’s narrative discontinuity — moving between archival photographs, newsreel fragments, media reportage, and on-site interviews — it is also deeply anchored by the sombre aural pulse, the disjunctive syncopation of the snare drum beat, the mournful reverb of the dub score that sustains a quiet rage. Though ostensibly addressing the issues of policing, Handsworth Songs reflects more profoundly the agency of the oppressed; it narrates their stories, not purely from the point of view of the event from which it derives its name, but equally through an archaeology of the visual archive of minoritarian dwelling in Britain. As is often the case in BAFC’s work, the ghosts of those stories inform the notion of a historically inflected dub cinema whose spatial, temporal and psychic dynamics relays the scattered trajectories of immigrant com munities.” (Okwui Enwezor)