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Mariel Brown | Trinidad & Tobago | 52 mins | Short Documentary | 2007 | English

SYNOPSIS It is January 2006 and Brian MacFarlane’s carnival workshop is quiet and practically empty – littered with left-over costumes and a couple of hangers-on from last year’s carnival. As the days pass the atmosphere starts to change. One by one, carnival costume makers begin arriving at the workshop (mas camp) anticipating the release of designs and the work that’s to come for the 2006 band, Threads of Joy.
The Insatiable Season is a fun and intimate look at the creations, crises and passion of the MacFarlane camp as they produce a beautiful costumed band for Trinidad’s Carnival.

Inward Hunger: The Story of Eric Williams is a pioneering documentary series that reveals Eric Williams in unprecedented breadth and depth, in the context of the history, society, region and world that shaped him; the forces to which he at times succumbed, and those he fought to change.

Dr. Eric Eustace Williams is a complex and controversial Caribbean figure best known for leading Trinidad and Tobago to Independence in 1962. This year documentary series explores the fascinating personal and political history of the country’s first Prime Minister. Inward Hunger: The Story of Eric Williams is a production of SAVANT Ltd, creators of The Solitary Alchemist and The Insatiable Season. This groundbreaking documentary series was directed by Mariel Brown.

On Republic Day, September 24th, at 3:00pm, GISL Channel 4 aired this 3-part series on the compelling and contradictory life of an iconic Caribbean leader.

Hero and anti-hero, nemesis and father-figure, Eric Williams means different things to different people. Over more than 25 years as political leader, he came to symbolize both the hopes and disappointments of many West Indians. Yet in many ways Williams was an enigma – a public figure who remained virtually unknown; an intensely private man.

Mariel Brown | Trinidad & Tobago, UK | 70 mins | Documentary | 2009 | English

SYNOPSISTrained at England’s prestigious Royal College of Art, Barbara Jardine moved back to her native Trinidad in 1974. Here she developed new techniques in working with traditional and indigenous materials and evolved a personal narrative style for making wearable works of art.

But 30 years on from returning to the Caribbean, and in spite of having her work purchased by a major metropolitan museum, there are nagging questions she just can’t shake: Why isn’t my work more recognised? Have I made a crucial mistake?
An opportunity to create a new piece for an exhibition in Scotland presents itself and Jardine is both nervous and hopeful. Will this be the chance to finally carve out her own space in the world?