The screening of Bam Bam: The Sister Nancy Story lit up the Trinidad and Tobago Film Festival (TTFF) last week, drawing a full house and an electric atmosphere as audiences gathered to celebrate the life and music of the dancehall pioneer.
The evening began on a high note when Sister Nancy herself called in to greet the audience, sending waves of delight through the cinema. Her message of gratitude and love set the perfect tone for what would unfold on screen.
The well-attended event, which was held at Woodbrook Place in Port of Spain, had a celebratory feel, with filmmakers, cultural workers, and fans alike eager to experience a story long overdue for the spotlight. The documentary did not disappoint.
Jamaican filmmaker Saeed Thomas said he felt a deep sense of pride watching Sister Nancy’s journey come alive on screen.
“I was very proud as a Jamaican who knows about our rich history in music,” he said. “Seeing that reflected on screen was moving. More films about our legacy in music should be made, because all of these artistes and musicians play a very important part in not only exporting our culture but also impacting us as Jamaicans and how we relate to ourselves.”
The film also deepened his appreciation of Nancy’s groundbreaking role. “It never occurred to me that she was one of the first women to be a pioneer for ‘toasting’ or DJing in the dancehall. It gave us a better understanding of where she came from, how she perfected her art, and how impactful she was for even the women dancehall artists now.”
Trinidad and Tobago filmmaker Cathy-Mae Sitaram echoed the praise, calling the production “very well supported, very well edited, and very well produced.”
She described the film as “incredibly creative” in the way the director (Alison Duke) interwove narratives, interviews, and editing into a vibrant whole.
“To make a documentary that really grips you, you have to be very creative,” Sitaram said. “The director was able to weave everything together to make very dynamic moments for the audience. Sometimes documentaries can feel a little long, but this one was dynamic with the music and the editing. That’s what she did, and it worked.”
Sitaram also highlighted the powerful pairing of subjects and storyteller.
“Sister Nancy is ebullient and very powerful. But the producer and the director are powerful in themselves. That juxtaposition made for a very dynamic film,” she said.
Haitian-Canadian filmmaker Henri Pardo was struck by Sister Nancy’s enduring strength and independence. “What stood out to me most was the power of a woman that goes on and on and on and does what she wants,” he said. “To follow her through so many years, decades of performing, of living in the moment, of respecting who she is and her wishes, it was inspiring.”
He also praised the documentary’s immersive camerawork: “One of the things I really enjoyed camera-wise was just watching her move on the streets of Jamaica, in a room, always active and strong. The way they followed her was great. It wasn’t static; it wasn’t just observing her. It was really with her. I loved it.”
Alison Duke, the film’s director, says her decision to create a documentary on Sister Nancy was rooted in inspiration, admiration, and a desire to represent an older performer – still doing her thing – on screen. She admitted that she was at a crossroads in her career when the idea for the film took shape.
“Sometimes you question yourself whether you should keep going, whether you should retire, whether your last film is your final film,” she told the audience. “Seeing Sister Nancy on stage, being an older artiste who is unapologetically herself, strong, and just keeps on going no matter what because she loves what she does, inspired me to keep going.”
Known for her extensive work in social justice films, Duke said she wanted to shift gears with this project. “At this point in time, I really wanted to make a film that was fun and uplifting. That’s actually harder to do, but I felt it was important,” she explained.
Meanwhile, Mariel Brown, TTFF festival director, said the lively turnout and audience response reflected the festival’s mission. She also reflected on the challenges and triumphs of bringing this year’s festival to life after its absence in 2024.
“There have been several times over the past 10 months that I’ve asked myself, okay, what have I done?” she admitted. “But when we received well over 400 submissions from filmmakers in the Caribbean and around the world, and 72 from Trinidad and Tobago alone, I knew with absolute certainty that there was a need for the Trinidad and Tobago Film Festival.”
She noted that nearly 300 volunteers answered the call to support the event, underscoring the festival’s enduring importance to the cultural landscape.
“People missed it and worried when it was not here. Filmmakers at home, across the Caribbean and in the diaspora, as well as our audiences recognise the vital role TTFF plays in exhibiting our Caribbean stories for ourselves.”
