A unique portrait of Britain and how when it embraced Capitalism set out to colonise other nations so as to secure its material interests and spread capitalism and its values. This film vividly portrays Britain's colonialist policies, and how it enforced political, military, cultural and economic control over other nations in order to exploit them, policies which continue today, particularly in the Muslim world.

In January 2008 the filmaker visited his mother in SA and he found the whiterural community she lives in very pessimistic about the future andin particular being ruled by an African government. Then the firstnational power cuts started – serving as the perfect metaphor forthem being plunged into African darkness. He set out to make a film about their fears and how they dealt with them. The crocodile served as a good metaphor – a reptile that stopped evolving but still survives. Along my journey, I discovered many different types of crocodiles and was amazed to find people who had embraced their fears and overcome them – finally offering some hope for future harmony in this troubled country.

The coalition forces before the launch of their war on Iraq promised the removal of a Saddam style dictatorship with the implementation of freedom and democracy. It was in the name of Freedom that Britain and America launched a brutal war on the people of Iraq who are predominantly Muslim. Far from accepting the occupation of the coalition forces, the people of Iraq have refused to be forced to accept democracy and freedom. In replacement of Saddam, America has installed a new dictator and continues its onslaught on cities and villages in Iraq that wish to remain independent. This powerful and moving documentary will question the justification of the whole war, expose the butchery inflicted upon the Iraqi people and set a vision (for action) for the Muslim communities in Britain and the West.

The Visitor is an almost mythical account of the artist's audience with Oba Erediauwa, the current king of Benin (in southern Nigeria) and takes the form of a photo-essay. A local narrator follows the artist into the Oba's palace and recounts the conversation between the European visitor and the royal host and his court of chiefs. The exchange centers on the Benin Bronzes (which were famously looted by the British in 1897 and are now in over 500 museums and collections mainly in the West), on collective memory and the demand for restitution.

Triggered by the memoirs of a medical missionary on the Afghan borderlands, this film is constructed from still photographs of colonial life on the North West frontier of British India at the turn of the 20th century. Searching for clues to the realities behind images framed during a time of colonial conflict, the film plays sound against image to find contemporary parallels in Western portrayals of a distant place and people.