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Ella Kemp , December 16th, 2020 10:41 I do not know how many moments feature on this list. I know roughly the number of films, but I do not know which one is objectively the best. We could have tried to order them, to celebrate one film a little more than the others, to crown a winner of the race. But I didn't really want to do that this year. I am not going to explain how ludicrous this year was, or try to make sense of it. All I can do is welcome you to what I hope is one of the final lists you'll read this year, in which esteemed Quietus contributors write a tribute to their favourite mom...

At the end of Lovers Rock, one of five Steve McQueen films being screened by the BBC this winter, the synth sound of the Revolutionaries’ 1976 classic, Kunta Kinte Dub, rings out. It’s late at night, at a party in early-80s London, and the speakers are stacked high beside the DJ’s turntable. The young black faces light up in the crowded room. As the bass kicks in, the dancing gets frenzied. The party has cranked up from slow groove to release. As with most McQueen films, the sensory experience pours from the screen, making you feel you are there among the revellers.

In the first two episodes of Steve McQueen’s quintet of films, collectively titled Small Axe, the artist and film-maker points his lens at two distinct but related spaces of Black social pleasure: a Caribbean restaurant in Notting Hill in the late 1960s, and a house party in the same area a decade later. Both of these are, to varying degrees, embattled, from without and within. The first film , Mangrove, takes its title from the historic Mangrove Restaurant, established on All Saints Road in 1968 by the community activist Frank Crichlow. It tells the story of the ‘Mangrove Nine’, a gro...