and your long life partner, the british curator mark nash, described it as...hings could open up in the film world, but they did not," he said. why do you think that is? because your profile is not as high as some people might expect it to be in the uk, where, you know, you were born and bred. well, i mean, ithink it's a really interesting question, because, of course... i mean, my work has been shown all over the world. i've taught all over the world. but, also, i think there's a way in which in britain, you know, there's a certain sort of narrative in film, you know, which has been, in a way, propagated. and it's an industry that's been very sort of, in a way, i would say, hard to change its ways in terms of really giving access to the kind of broad voices. i mean, when i started making works in sankofa film and video collective, we were five black people of colour, younger artists, film—makers making works. and i would say, in a way, that particular moment, after the �*81 riots, was a kind of culture explosion. and i think, in a way, the response to that was