"It’s down to clever writing from Adesunloye and smart acting from O’Shaughnessy that makes the final resolution work"

Joseph A. Adesunloye’s White Colour Black is at its heart, a film about maturity which is appropriate given it takes time to make its mark after a first half that feels marginally unengaging.

Dudley O’Shaughnessy plays Leke, a London based artistic photographer whose work is expanding to the far east. He lives a hedonistic lifestyle of recreational drugs and casual sex but occasional phone messages from Senegal reveal the ill health of his father but Leke doesn’t seem too bothered – a reference from a journalist results in a reaction that suggests a strained relationship.

Where viewers may struggle to connect with the film in the opening half is down to the fact that Leke is something of an unlikeable individual, and it can be hard for one to truly care about the intricacies of his life.

That doesn’t really change when his father inevitably passes and Leke travels to Senegal where he continues his hedonistic ways to a point.

That is until he eventually travels to his father’s village and the film, much like Leke, finds its arc. Director Joseph A. Adesunloye reigns in the tone to a more subtle mood and Leke finds a lost piece of himself and a connection to his past that fulfils his characters journey.

It’s down to clever writing from Adesunloye and smart acting from O’Shaughnessy that makes the final resolution work, making what could have been a sudden character shift feel real and melodic.

The themes of identity and belonging smartly come to the fore as Leke matures beyond the unlikeable character we initially meet into one worthy of engagement making for a slight but impressive outing for all concerned.