Dan Guthrie

After seeing a mention of a man called ‘Daniel’ on a Bishop’s Transcript held in Gloucestershire Archives, Dan goes for a walk in the woods in search of the man buried in Nympsfield in 1719 and described on the Transcript as ‘a black stranger’. Whilst walking, Dan talks directly to Daniel, speculating about the parallels between him and his namesake, from potential walking routes to speeds and shoe sizes. As the film progresses, Dan opens up to Daniel about how he’s been made to feel like a ‘black stranger’ in his hometown of Stroud after his involvement in a council-led review of streets, buildings, statues and monuments garnered national media attention and right-wing backlash for asking people’s opinions on an object called the Black Boy Clock.

After seeing a mention of a man called ‘Daniel’ on a Bishop’s Transcript held in Gloucestershire Archives, Dan goes for a walk in the woods in search of the man buried in Nympsfield in 1719 and described on the Transcript as ‘a black stranger’. Whilst walking, Dan talks directly to Daniel, speculating about the parallels between him and his namesake, from potential walking routes to speeds and shoe sizes. As the film progresses, Dan opens up to Daniel about how he’s been made to feel like a ‘black stranger’ in his hometown of Stroud after his involvement in a council-led review of streets, buildings, statues and monuments garnered national media attention and right-wing backlash for asking people’s opinions on an object called the Black Boy Clock.

After seeing a mention of a man called ‘Daniel’ on a Bishop’s Transcript held in Gloucestershire Archives, Dan goes for a walk in the woods in search of the man buried in Nympsfield in 1719 and described on the Transcript as ‘a black stranger’. Whilst walking, Dan talks directly to Daniel, speculating about the parallels between him and his namesake, from potential walking routes to speeds and shoe sizes. As the film progresses, Dan opens up to Daniel about how he’s been made to feel like a ‘black stranger’ in his hometown of Stroud after his involvement in a council-led review of streets, buildings, statues and monuments garnered national media attention and right-wing backlash for asking people’s opinions on an object called the Black Boy Clock.

After seeing a mention of a man called ‘Daniel’ on a Bishop’s Transcript held in Gloucestershire Archives, Dan goes for a walk in the woods in search of the man buried in Nympsfield in 1719 and described on the Transcript as ‘a black stranger’. Whilst walking, Dan talks directly to Daniel, speculating about the parallels between him and his namesake, from potential walking routes to speeds and shoe sizes. As the film progresses, Dan opens up to Daniel about how he’s been made to feel like a ‘black stranger’ in his hometown of Stroud after his involvement in a council-led review of streets, buildings, statues and monuments garnered national media attention and right-wing backlash for asking people’s opinions on an object called the Black Boy Clock.

Tourists hunch under their Union Jack umbrella in the greenery of central London, while a composited flag in an array of red, white and blue Ankara fabrics ripples against the coastal waves of sunset-lit Margate Beach.

Tourists hunch under their Union Jack umbrella in the greenery of central London, while a composited flag in an array of red, white and blue Ankara fabrics ripples against the coastal waves of sunset-lit Margate Beach.

A reframing of an old photograph of three men posing effortlessly in their Sunday best from the artist’s family album. At once a gentle account of family history, of lived experience, of intergenerational dialogue and of connection to the landscapes of one’s youth, the film contemplates the Black diasporic experience, and the construction and manifestations of Black masculinity in the context of rural South West England in the 20th century and now.

A reframing of an old photograph of three men posing effortlessly in their Sunday best from the artist’s family album. At once a gentle account of family history, of lived experience, of intergenerational dialogue and of connection to the landscapes of one’s youth, the film contemplates the Black diasporic experience, and the construction and manifestations of Black masculinity in the context of rural South West England in the 20th century and now.