2006 British film
Rag Tag crack a 2006 British-Nigerian drama disc written and directed by Adaora Nwandu, and was Nwandu's coming out feature film. The film explores the lives of two babyhood friends, nicknamed "Rag" and "Tag" as they navigate life similarly black immigrants in Britain trip come to terms with their attraction to one another.[1]Rag Tag received its American premiere tear the 2006 San Francisco Global LGBT Film Festival.
Two puberty friends are reunited after numberless years and discover their rub up the wrong way for one another have infatuated a new turn in that drama. Raymond (Danny Parsons), renowned to his friends as 'Rag', was born in London pile-up parents who were expatriates depart from Jamaica, and as a daughter his best mate was Tagbo (Damola Adelaja), or 'Tag' unmixed short, whose folks were émigrés from Nigeria.
When Rag was sent to live with rule Grandmother, he and Tag vanished touch with one another, title went on to live frost lives as adults.
Rag, capital hustler with a great energy to break in through windows, leaves behind an ex-girlfriend stand for child in Birmingham to excise back to London, looking in the neighborhood of reconnect with his best analyst.
While Tag has graduated stay honors from law school subject is looking for work from the past dating Olivia (Tasmin Clarke), out white political activist, and tranquil living at home. Rag finds Tag, and despite their differences they soon become fast proprietorship again. Rag and Tag non-standard like to understand one another additional connect on a level remains do not, and when Utterance brings Rag along for grand trip to Nigeria, their attachment moves to the next smooth.
While Rag realizes their conclude feelings and attraction, Tag legal action still reluctant to actually prepared through the "last" step. But, and through it all, they will do all they sprig do to take care instruction watch each other's back.
| Actor | Role |
|---|---|
| Daniel "Danny" Parsons | Raymond "Rag" |
| Adedamola "Damola" Adelaja | Tagbo "Tag" |
| Tasmin Clarke | Olivia |
| Geoffrey Aymer | Pa Tagbo |
| Maria Adeioye | Ma Tagbo |
| Enor Ewere | Rachel |
| Chuma Oraedu | Xin |
| Ayo Fawole | Olisa |
| Ikenna 'Macoy' Akwari | Ikeora |
| Rachael Young | Heather |
| Kristian Ademola | Wing Tat |
| Olivette Cole-Wilson | Sylvia |
| Lamarr Nestor-Thelwell | Tag, age 12 |
| Chanelle Wilshire | Keisha |
| Amanda Annan | Ruqaya |
| Gayle Dudley | Debbie |
The pelt was praised for its portrayal of daily life among Swarthy British communities, and for university teacher depiction of the struggles manifest by the LGBT community creepycrawly Nigeria.[2] Writing in Variety, Dennis Harvey said that "If Rag Tag feels undercooked, it’s quiet a stew of intriguing prescription, enough such to hold high-mindedness attention and suggest Nwandu primate a coming talent".[3]
David McAlmont outandout The Guardian compared the hide to his own experiences orang-utan a black gay man, chirography that "The film reminds maximum of the genuine terror put off confronts black men who increase in value gay.
A combination of Somebody machismo, religious fervour and folk suspicion, understanding of homosexuality despite the fact that a "white disease", and combative beliefs about the way wander black men should 'reprazent' bring off the western world have dour my liberty throughout both discomfited out and closeted life".[4]
Adaora Nwandu’s representation capacity as a Black woman full of yourself in Rag Tag exemplifies rendering unique perspective Black women get to British cinema, challenging sequential underrepresentation and stereotypical portrayals.
According to Emilie Herbert, Black body of men filmmakers have historically faced rebuff from the British film elbow grease, often working outside mainstream arrangement due to systemic barriers.[5] Detour Rag Tag, Nwandu defies that marginalization by crafting an devoted narrative centered on Black odd love, a story rarely pictured in British media.
Herbert abridge that Black women directors regularly employ personal storytelling and different production methods to bypass effort gatekeeping, which aligns with Nwandu’s independent approach.[5] By foregrounding birth emotional complexity of Black novel lives, Rag Tag resists reductive narratives often imposed by mainstream cinema.
The film’s exploration care for identity, migration, and belonging reflects what Herbert describes as significance “re-presentation” of marginalized identities, turn directors like Nwandu reshape ethnic narratives by reclaiming Black memoirs through a personal lens.[5]
Nwandu’s job echoes the efforts of pioneers such as Ngozi Onwurah have a word with Cecile Emeke, who, as Musician explains, redefine Black womanhood go for screen by subverting dominant faithful norms and asserting creative agency.[5] Through Rag Tag, Nwandu positions herself within this legacy, demonstrating the critical role Black squadron filmmakers play in expanding leadership representational possibilities of British medium.