Stephen Brolan grew up in Liverpool from a family of Irish dissidents exiled from the north during the Domesday Project. His first film was a horror slasher inspired by John Carpenter's Halloween, in which the killer sports a jack o'lantern head, and became a post-punk-era 8-year-old's super-8mm thrust for Hollywood. Flash forward to the post-Brexit post-Covid apocalypse, and the 8-year-old's lantern is lit again amid a cartoonish world of po-faced comedians and hilarious leaders, a world in which pumpkin-headed murderers might just run for government. Again. Following a series of career oxymorons - government intelligence; music journalism; committed alcoholism - Brolan returned to the love first honed by an 8-year-old gourdophobe's horror fantasy in a caravan in Ireland - indie filmmaking. Forming Rough Book Films with a schoolmate, the partnership released a number of short spoof films featuring children's TV characters in adult roles, which garnered a small cult following before being forcibly withdrawn for copyright infringements. Brolan's debut documentary is a history lesson in reverse - an uncovering of the life and works of black classical composer Samuel Coleridge-Taylor, whose short but productive life has been garishly whitewashed by the annals of antiquity, and is celebrated here (initially) in just 15 short minutes. It's about bloody time.