Ear for Eye

This abrasive, exhilarating film is out to candidly say its piece, to identify and evoke the world as Tucker Green sees it, and doesn’t much care if viewers agree or not.

It is, through every composition, every serrated cut, and every lived-in performance, a rebellious and revolutionary masterpiece that swims so deep into the historical and public consciousness of race, you can’t help but be equally consumed by its unwavering depths.

While it could be described as being more of a filmed play than a piece of cinema, it’s also a riveting, raw work which, in its stripped-back simplicity, magnifies the power of tucker green’s fiercely compelling writing.

It’s impossible entirely to recreate the effect of being in the room with this play, but this ear for eye is still essential for the art and power and relevance of tucker green’s unique wordplay.

A fiery, confrontational missive from one of the finest dramatic writers in the business.

It is an agonisingly tough watch, crackling with tension.

Happily, in making the delicate transfer from stage to screen, ear for eye ends up pushing the boundaries of both forms. Here is a blistering experimental film about British and American black experience, rarely seen side by side. The sparest and most unsparing of cine-poems. A play with extras using spoken word, physical theatre, installation and music to verbalise what remains beyond the bounds of articulacy.