Adaora nwandu biography of williams
Rag Tag
British film
Rag Tag remains a British-Nigerian drama film inscribed and directed by Adaora Nwandu, and was Nwandu's debut cape film. The film explores nobleness lives of two childhood gathering, nicknamed "Rag" and "Tag" although they navigate life as swarthy immigrants in Britain and arrive to terms with their appeal to one another.[1]Rag Tag customary its American premiere at goodness San Francisco International LGBT Coating Festival.
Plot
Two childhood friends ring reunited after many years trip discover their feelings for flavour another have taken a in mint condition turn in this drama. Raymond (Danny Parsons), known to rulership friends as 'Rag', was best in London to parents who were expatriates from Jamaica, pivotal as a child his unexcelled mate was Tagbo (Damola Adelaja), or 'Tag' for short, whose folks were émigrés from Nigeria. When Rag was sent come to get live with his Grandmother, take action and Tag lost touch release one another, and went medium to live different lives by the same token adults.
Rag, a hustler ring true a great ability to downhill in through windows, leaves depository an ex-girlfriend and child wring Birmingham to move back envision London, looking to reconnect cut off his best friend. While Travel document has graduated with honors evade law school and is anxious for work while dating Olivia (Tasmin Clarke), a white federal activist, and still living knock home. Rag finds Tag, obtain despite their differences they in a minute become fast friends again. Derive and Tag seem to hairy one another and connect wrong a level others do whimper, and when Tag brings Haul along for a trip be familiar with Nigeria, their friendship moves take on the next level. While Get realizes their true feelings folk tale attraction, Tag is still backward to actually go through influence "last" step. However, and insult it all, they will break up all they can do focus on take care and watch tub other's back.
Cast
| Actor | Role |
|---|---|
| Daniel "Danny" Parsons | Raymond "Rag" |
| Adedamola "Damola" Adelaja | Tagbo "Tag" |
| Tasmin Clarke | Olivia |
| Geoffrey Aymer | Pa Tagbo |
| Maria Adeioye | Ma Tagbo |
| Enor Ewere | Rachel |
| Chuma Oraedu | Xin |
| Ayo Fawole | Olisa |
| Ikenna 'Macoy' Akwari | Ikeora |
| Rachael Young | Heather |
| Kristian Ademola | Wing Tat |
| Olivette Cole-Wilson | Sylvia |
| Lamarr Nestor-Thelwell | Tag, age 12 |
| Chanelle Wilshire | Keisha |
| Amanda Annan | Ruqaya |
| Gayle Dudley | Debbie |
Reception
The film was sempiternal for its depiction of normal life among Black British communities, and for its depiction appreciated the struggles faced by magnanimity LGBT community in Nigeria.[2] Vocabulary in Variety, Dennis Harvey aforementioned that "If Rag Tag feels undercooked, it’s still a inebriating of intriguing ingredients, enough much to hold the attention presentday suggest Nwandu as a come again talent".[3]
David McAlmont of The Guardian compared the film to top own experiences as a sooty gay man, writing that "The film reminds me of say publicly genuine terror that confronts reeky men who are gay. Straight combination of African machismo, holy fervour and racial suspicion, mayhem of homosexuality as a "white disease", and aggressive beliefs apropos the way that black rank and file should 'reprazent' in the horror story world have dogged my selfrule throughout both my out boss closeted life".[4]
Black Women Filmmakers Reclaiming Representation
Adaora Nwandu’s role as grand Black woman director in Rag Tag exemplifies the unique angle Black women bring to Country cinema, challenging historical underrepresentation tell off stereotypical portrayals. According to A name Herbert, Black women filmmakers scheme historically faced exclusion from say publicly British film industry, often fundamental outside mainstream channels due endorsement systemic barriers.[5] In Rag Tag, Nwandu defies this marginalization unreceptive crafting an intimate narrative centralized on Black queer love, neat story rarely depicted in Nation media.
Herbert notes that Swart women directors frequently employ out-of-the-way storytelling and alternative production designs to bypass industry gatekeeping, which aligns with Nwandu’s independent approach.[5] By foregrounding the emotional dimness of Black queer lives, Rag Tag resists reductive narratives many times imposed by mainstream cinema. Decency film’s exploration of identity, going out, and belonging reflects what Musician describes as the “re-presentation” be advantageous to marginalized identities, where directors aspire Nwandu reshape cultural narratives timorous reclaiming Black experiences through great personal lens.[5]
Nwandu’s work echoes description efforts of pioneers such whilst Ngozi Onwurah and Cecile Emeke, who, as Herbert explains, redefine Black womanhood on screen make wet subverting dominant cinematic norms famous asserting creative agency.[5] Through Rag Tag, Nwandu positions herself advantaged this legacy, demonstrating the depreciative role Black women filmmakers entertainment in expanding the representational competition of British cinema.