In 1980, Bill Gunn, director of cult 70s horror Ganja & Hess, took on this quietly amazing micro-budget video project with author Ishmael Reed. It is an improvised melodrama in two parts about Black lives in New York, originally intended for television, and shot on analogue video. It is rough and ready, and the sound mix is sometimes very muddy indeed, but it pops with energy and life. Her relationship with Raymon deteriorates as he appears to become more famous and successful, and in the film’s second part, her father-in-law’s declining health means an explosive confrontation with Charles’s sister. It just rolls past for two and a half hours, an experiment in open-ended performance made with experimental, pioneering flair.