When PARDON returns to Paradiso, it brings with it the unmistakable pulse of big-room energy that has become its signature. This time, the lineup is nothing short of monumental. At the forefront stands UK rap royalty Novelist, a titan of the grime scene whose journey through sound has seen him evolve from a breakout star to a genre-defying innovator. It’s been over a decade since he burst onto the scene with the Mumdance-produced classic Take Time on Rinse, followed by his explosive partnership with XL Recordings. Now, as he steps into self-production, he fuses the influences of G-Funk, Grime, Soul, and Techno, proving once again why he’s one of Lewisham’s most versatile and visionary talents. On March 28th, when he steps up to the mic at Paradiso’s grand main room, expect nothing less than pure fire. Joining him is none other than Pangaea, a founding figure of Hessle Audio and a relentless force behind the decks. His sets are an odyssey through UK dance music culture, stitched together with the precision and flair that only a true pioneer can deliver. When Pangaea commanded the Parallel stage during PARDON’s first post-lockdown event in 2022, he left the room spellbound—a sonic sermon that lingered long after the music stopped. Now, he’s back to unleash another round of his rhythmic sorcery, drawing on decades of low-end ingenuity. And then there’s AliA—Belgium’s finest connector of sounds and scenes. A regular at the revered Horst festival, she has honed a mixing craft that seamlessly links genres, pushing the boundaries of club music with fearless passion. Her presence is a vital thread in PARDON’s tapestry, bridging the raw and the refined with a sound that’s distinctly her own.Rounding out the main room lineup are PARDON’s trusted selectors, EYCEE and Insulinde—torchbearers of the signature PARDON energy, whose sets are known for leaving no soul unmoved. Down in the BASSment, Rinse FM’s Reek0 and FELIXCW arrive hot off the back of their Dancers Road EP, ready to unleash their trademark bass-heavy blend. They’re joined by Pelanoir, a selector with a taste for the unexpected, while Amsterdam’s own styn teams up with percussive prodigy T.NO for a b2b session that promises groove and grit in equal measure. Closing the night is Mallaury, whose bold, bass-driven selections will push the crowd to its limit, while Jan Koster and STIPP deliver their raw, high-octane energy. Expect nothing less than sweat-soaked ceilings, relentless rhythms, and a night where the passion never lets up. PARDON at Paradiso—it’s about to go off.Tickets available now

Interview by Joe Leonard-Walters | Edited by Passion Dzenga Launching in 2021, Echobox has been forging a path for community radio by showcasing the diverse characters and concepts that surround them. In this feature, we will be looking into a few of the broadcasts that you can tune into so get locked in and don’t touch that dial. Today, we're diving into the world of experimental electronics with Oneven, the creator and host of PITCH SHIFT on Echobox. Known for its spontaneous and raw approach to live electronic music, PITCH SHIFT has become a staple for boundary-pushing sounds and thought-provoking conversations in Amsterdam’s electronic scene.   Oneven’s show is about community, collaboration and celebrating artistry over clout. Since its inception, the show has showcased both local and international artists, offering a platform where creative minds break down their sounds, setups, and stories. Whether it’s DJ Beukeboom’s live Baile Funk set or Stefhanja’s seismic-inspired soundscapes, Oneven’s open format invites the unexpected.   It’s not just about genres or trends - it’s about diving into the essence of sound and discovering what drives each artist to create. From exploring groundbreaking music gear to hosting icons like Chase Bliss, Oneven’s unprepared, organic style has made PITCH SHIFT a space where authenticity reigns.   We’ll be talking to Oneven about his love for music tech, why live electronic performances deserve more attention in Amsterdam, and his dream guests, from Aphex Twin to Madlib. Plus, we’ll touch on his views of the city’s evolving music scene and why he believes in staying rebellious and raw. Let’s shift some pitches and get into it! You can catch up with this show now on Echobox Radio. Your show has turned into a real touch-point for experimental electronics in Amsterdam. Why was it important to do something so collaborative?I think the show has a healthy mixture of experimental and more traditional electronic music. My first ever guest was DJ Beukeboom who did a live Baile Funk show, but yeah we do also occasionally dive into the more abstract areas of electronic music. It depends on the artist I invite. I never think of genres when finding guests, but rather about what motivates someone to pursue a certain sound, is the sound representative of their background, etcetera. This is important to me as it helps me filter out artists in it for clout vs. Artistry. Anyhow, in terms of collaboration it depends on the guest, some shows go down like that, others don’t. The behind Pitch Shift is simple: an artist comes over, plays some tracks and we talk about how they made it and how they translate their ideas from a studio setting into a live show. But since the show is called Pitch Shift it occasionally goes in a completely different direction. Sort of like when you pitch shift a sample: you have the source material, but what you do with it can change the outcome completely. This also means I never prepare for any of my shows. This works best for me cause it allows the interviewing part to be spontaneous and authentic. I could write down some fictional backstory about why I do this, but honestly it just happened organically. I love it because when the pressure is on your brain starts coming up with some nice questions on the spot. As to the importance of the show: It was and is still important to me to shine a light on artists that perform live. Amsterdam is flooded with DJ’s which is cool, but there are not enough opportunities for live electronic music. To my knowledge bookers are a bit afraid about someone turning up with a whole studio worth of equipment, but really it can be done with just one or two pieces of gear. All in all I just wanted to be selfless and give something back to the community. In my own past experiences I noticed a lot of shows were done to promote the host, that was my inspiration to do things differently. You also talk a lot about technology in music, where did the obsession with music gear start?Growing up in the 90’s there was a lot good electronic music being shared on a commercial level on the TV so it was fairly easy to get exposed to the works of, for example, Aphex Twin. Also video games had a ton of great soundtracks that peaked my interest in the tech. I was always opening up electronics and fucking around with circuits trying to make sense of all those alien components. It’s just so happened I’m naturally attracted to technology that is also used to make electronic instruments. Perhaps I would have been into trains or planes if I hadn’t been exposed to electronic music. That said, I’m still quite into watching videos on how a cockpit works. I like gear a lot, but these days it’s a more a novelty. Like yes a 5K euro 8 voice poly synth sounds good, but there are 15 year old kids out there making absolute bangers on a shitty old laptop. Ultimately it’s all about being able to create and express yourself with as little latency between your idea and output so whatever works best is what you should go for. I am now mostly using a laptop with Ableton and Max/MSP to produce and in the mixing stage run things through hardware. Computers are so powerful and you can basically do anything you want once you become proficient with the software. In my opinion it is a far more exciting place to be than in a studio with tons of analog subtractive synths. Also not being dependant on a physical space is amazing for your creativity. All you need for electronic music these days is to be interested in learning, some software and a pair of decent headphones. Only thing that sucks about computers is that they are built to become obsolete, near impossible to repair as a consumer and some software becomes outdated. What have been particular highlights of your show?My recent ones with Tyler and Liz from Chase Bliss and the one with Stefhanja are my current faves. Chase Bliss was personally amazing to me cause I love the pedals they make. They are really pushing the limits of what you can do with guitar pedals so I was very happy to learn they have a European office in Amsterdam and that they were down to come to the studio and talk. My show with Stefhanja was really fun to do too. She has a device called the Geofón which is made by LOM Audio. It’s like a microphone, but made to detect seismic activity. We ran the signal through a bunch of equipment and made some beautiful soundscapes and textures. It was pure expression and it turned out so nice. We both had no preparation so it could have gone horribly wrong, but in the end I think our honest enjoyment is what kept it going in a good direction. Dream guest?Oh there are multiple ones. Autechre, Aphex Twin and BoC are obvious ones, right? Would be a very autistic show in the best way possible. But also would love to have Madlib or The Alchemist on. I listen to their music more than electronic music(it is technically also electronic though) to be honest. It’s so raw, organic and inspiring to me. Big fan of the Freddie Gibbs records they both did. Actually I know The Alchemist is a fan of Patta and visits Amsterdam often so maybe someone should make this happen. Live beat making on the Echobox airwaves… lets fucking go. Also dead ones would be Florian Schneider of Kraftwerk. Kraftwerk’s influence on music is unparalleled. Computer World laid the foundation for most of the stuff you hear now. What's most exciting to you in the Amsterdam music scene right now?I’m a bit of a hermit and this is probably not the answer people want to read but honestly, compared to The Hague and Rotterdam I think in general Amsterdam is lacking rawness and rebelliousness in the electronic scene so there’s not much for me personally to get excited about.I’m generalising of course as places like Bar San Francisco and events such as Weather Report at Bar Theo are great and resonate with me on a personal level. In the end I think that’s what counts, having a few places that you like to visit. Weather Report always surprises me as I go in blind. To me It’s not even about liking all the music, but seeing people use music as a tool to express themselves will always get me excited.I don’t have much interest in most clubs as they feel too image driven. Would much rather see someone unknown play amazing and unexpected shit they love than another Instagram famous DJ play whatever is trending if you know what I mean. I think Amsterdam clubs have a lot of potential, but we need to remember what made electronic music special in the first place: fuck playing it safe and fuck status. Be rebellious and treat every event like it’s your first and last and don’t worry too much about opinions. Next up we’re diving into the world of Het Kan Wel with Sara Liz and Wies, hosts of the most eclectic and spontaneous breakfast radio show on Echobox. It’s a potpourri of music, conversations, and unfiltered thoughts - where everything is possible. The name itself, Het Kan Wel (It Is Possible), was born from a wild King’s Day party in a bathtub, a playful declaration that nothing is truly impossible - though some things are better left undone (like moving to Mars). Sara Liz and Wies are the kind of duo who embrace the unexpected, bouncing from obscure beats and electronic sounds to slow and soulful vibes all before lunch. Their musical tastes may clash at times - Sara Liz loves starting the day with high-energy beats, while Wies prefers a more gradual wake-up - but that’s exactly what makes their dynamic work. Over the years, their friendship and music tastes have intertwined, creating a show that’s as unpredictable as it is refreshing. Inspired by the casual and humorous format of Charlie Bones’ Do!! You!! radio show, Het Kan Wel feels like an open invitation to just exist, be playful, and let whatever happens, happen. From bird sounds to bold musical statements, the duo’s chemistry keeps listeners guessing and makes space for serendipitous moments. We're gonna take a turn with this week's edition, switching to Dutch so we can  properly champion Het Kan Wel (if you want to get familiar but are not a Dutch speaker feel free to ask your favourite search engine to translate the following chapter). You can catch up with their show now on Echobox Radio.Wat is het verhaal achter de naam van jullie show, Het Kan Wel? W: Het verhaal is ontstaan op een vrij liederlijke en uitzinnige nacht na koningsdag, in een badkuip tijdens een diepte interview in het huis waar wij destijds samen woonden. Tijdens het interview kwamen we allen tot het inzicht dat vrijwel niets niet onmogelijk is.Verder (en nuchter) daarover nadenkend kom je er achter dat alles wel kán, maar je sommige dingen beter kan laten. Zoals bijvoorbeeld naar Mars reizen.  SL: “Wies en ik woonden lang samen, acht jaar in een huis in de Vogelbuurt, ook met Veer en Daaf en Boontje, het hondje. We grepen momenten voor een feestje vaak met velen handen aan. Op een van deze feestjes op Koningsdag dus,  begon een vriendin ons te interviewen in bad en wij vertelden dat we een band waren begonnen (lees; dit is dus fictief, wij hadden verzonnen dat we een band waren). Er werd doorgevraagd en wij gaven een heel interview over onze hit “Het Kan Wel”. De tekst van het liedje was niet bijster intelligent, mede door het tijdstip en alles. Maar wij vonden onze ‘hit’ bij het huis passen en zo is ons huis steeds meer Het Kan Wel gaan heten. Het Kan Wel is een mooie zin om in verschillende gemoedstoestanden te zeggen: overmatig enthousiast, verdrietig, schuldbewust of teleurgesteld. Als je de klemtoon van de zin verandert, krijgt het ook een andere betekenis. Of als je een liedje opzet dat niet ‘in tune’ is met het vorige (het wordt voor mij snel erg zalvig), dan zeg ik vaak tegen Wies: ‘Het kan ook weer wel’.” Tijdens de pandemie waren het vrienden in Antwerpen die een online radioshow begonnen genaamd Tijden van Nood. Alle makers konden vanuit hun woonkamer inpluggen en via muziek op de hoogte blijven van elkaar. Toen is de show officieel zo begonnen te heten.  Is er een andere ontbijt-radioshow die jullie qua format heeft geïnspireerd? W: Natuurlijk Charlie Bones met de Do!! You!! radioshow. Toch wel een soort grondlegger van de ongedwongen radioshow, met veel humor, een breed scala aan muziek en lekker erdoor heen praten.  SL: “Ik heb veel naar Do!! You!! van Charley Bones geluisterd en ik denk dat ik wel elke maand een vogel laat horen, dus ook; “Vroege Vogels.” Hebben jullie een favoriete show tot nu toe? SL: “Moeilijke vraag, want er is zoveel niche en zoveel talent! Donnies Dreamshow, 1.06SS was een poosje na ons, ook echt heerlijk. Joy die nu na ons is, Friday is a Sunday, Recovery Chanel, BSS, Loma Doom… te veel om op te noemen.” W: Vind het ook moeilijk om te zeggen, het is zo leuk om te zien hoe iedereen in die opnamestudio zijn eigen wereld creëert. Het is heel grappig, want je wisselt elkaar natuurlijk af aan het einde van de show, maar dan treedt de volgende persoon altijd echt even jouw wereld binnen of jij in de wereld van de DJ voor je. Ik vind dat zo mooi om te zien, en horen. Maar als ik het moet zeggen: Friday is a sunday, recovery channel, BSS, Joygail.   Hoe vind je het presenteren als duo tot nu toe? Waar zijn jullie het nou echt over oneens? W: Voor we bij echobox begonnen, maakte we tijdens Corona al een show op Tijden van Nood. Een soort piratenzender opgezet door vrienden zodat we allemaal een beetje in contact konden blijven met elkaar. Dat was heel leuk, maar tussen mij en Sara Liz ging dat niet echt zonder slag of stoot haha. We maakte echt live ruzie op de radio soms, wat ook wel heel grappig is achteraf.  We hebben gewoon een vrij uiteenlopende muzieksmaak die soms een beetje botst op sommige punten. Sara Liz is soms vrijwillig bereid om keihard te knallen om 11 uur ‘smorgens, waar ik persoonlijk ook nog even wakker moet worden. Dat kan wel eens in het verkeerde oorgat schieten. Maar Sara Liz vind dat ik soms te sloom draai, wat ik echt complete nonsens vindt.  Ik vind het wel leuk om te merken dat hoe langer we bevriend zijn onze smaken naar elkaar toegroeien, en we tegenwoordig echt vaak dezelfde dingen heel vet vinden. SL: “Wij zijn er rijkelijk vaak oneens geweest over muziek. Beiden komen we uit een andere muzikale interesse en huishouden. Bij mij stond thuis altijd muziek aan van Kink Radio (techno-uurtjes op zaterdag), Moloko, veel elektronische muziek, beats, Burial, Prince en ik maakte bandjes van Afrikaanse obscure radio. In mijn wereld kan dit allemaal door elkaar heen en naast elkaar. Veel bewegen op muziek, het kan me echt even omsluiten, ahh ik hou zo van beats! Wies weet ook veel van muziek, maar kent meer instrumentale bandjes. Dus als ik plots de boel opschud… krijg ik wel een diepe zucht of scheve blik. Maar het laatste jaar heb ik wel steeds meer het gevoel dat we naar elkaar groeien of elkaars input kunnen waarderen.  Bij wat denken jullie nou: “Het kan niet”? Oorlog, Trump, Elon Musk, de anti-abortus beweging, te harde techno om 11 uur smorgens (lul niet Wies!), te veel witte mannen in 1 ruimte, eten met weinig vet en zout, naar mars gaan, de verkoop van sociale huurwoningen, fabel friet, grote Ego’s, dat alles een restaurant moet worden, veel vlees eten, niet nederig zijn, geen humor hebben laat staan zelfspot en enkelsokken bij mannen bij -3, niet zingen op de fiets en niet lachen om een scheet. Tune in to Echobox - broadcasting from below sea level every week, Thursday until Sunday.

Interview by Passion Dzenga | Photography by Kala CitéFor filmmaker, photographer, and multidisciplinary artist Thaniel Owusu Agyemang, creativity is about more than just expression - it’s about connection. With Home: Where It All Begins, his first official film release, he takes audiences on a deeply personal journey back to Ghana, exploring themes of heritage, identity, and belonging.Thaniel’s work spans filmmaking, DJing, and photography, allowing him to move fluidly between disciplines while staying rooted in community. He’s got love for all - collaborating with artists and using  the platform Sankofa Archives to create spaces where stories of the African diaspora can thrive.As he gears up for his film screening and the Onyx Vision exhibition at OSCAM, Thaniel invites people to get familiar with his vision - one that’s about archiving, storytelling, and reclaiming narratives through art.    How did you first get into film, and what does it mean to you?Film is a powerful medium of expression. My love for it started in childhood when I watched Nollywood and Ghanaian movies with my parents. I’d always try to predict what would happen next and even create my own plots in my head. Later, as I got into photography, I wanted to bring my photos to life, and film became a way to add new dimensions to my storytelling. You work across multiple disciplines - filmmaking, DJing, photography, and directing. How do these different roles influence each other?Being multidisciplinary allows me to collaborate with a variety of artists and communities. For example, alongside my film event, I’m part of an exhibition, Onyx Vision at OSCAM, featuring artists Lenny Pharrell and Hamilton Chango Harris. Engaging in different mediums broadens my connections, keeps me inspired, and lets me create in different ways.With an exhibition and a film screening happening in the same week, how do you see this film shaping the conversation around your work?This is actually my first official film release. I’ve done short projects before, but nothing on this scale. It marks an important step in my journey, blending all the creative elements I’ve worked with into one larger vision.What inspired the title Home: Where It All Begins?The title reflects my journey of returning to Ghana for the first time. It represents the idea that my journey truly begins now that I have reconnected with my homeland. I want people to feel the importance of returning to their roots, learning from the past, and building for the future. This idea is also tied to the philosophy of Sankofa, which means "return, bring it back"What was the main motivation behind your trip to Ghana?I had always wanted to go back to Ghana, but financial constraints made it difficult. My mother, who has many children, often went alone. When I finally had the opportunity, I decided it was the right time. I wanted my mother to be with me for my first visit, so I paid for her ticket. Later, my friend Ian Bodo, a director of photography, joined me. We started filming spontaneously without planning to make a movie—it just happened organically.Why did you choose to release the film on the same week as Ghana’s Independence Day?It felt symbolic. Ghana’s Independence Day represents freedom and reclaiming identity, which aligns with the film’s theme of reconnecting with one’s roots.What were your expectations before visiting Ghana?My expectations were shaped by stories from my mother and friends, but experiencing it firsthand was completely different. People had always asked if I had ever been to my homeland, and I hadn’t. When I finally went, I realized that stories can only tell so much—you have to feel it yourself.What was the most powerful moment for you during the trip?Seeing an entire space filled with only Black people for the first time in my life. In Europe, I had never experienced that before. It was a profound moment of reflection and belonging. The warmth I felt from the moment I arrived at the airport was overwhelming.How did meeting your family in Ghana impact you?It was deeply emotional. I met many family members for the first time, including my grandmother, whom I hadn’t seen in 15 years. I had talked to my relatives over video calls, but meeting them in person was completely different. You can’t fully understand someone’s presence through a screen—it’s something you have to experience.What was the biggest lesson you learned from your trip?I realized that in Africa, people don’t overthink problems like we do in the West. In Europe, we tend to pile problems on top of problems, but in Ghana, people just go with the flow. They accept that some things are beyond their control and trust in God. This mindset shift was one of the most powerful takeaways for me.What can audiences expect to see in the film?The film captures raw moments of reflection, like me standing in Independence Square in the rain, simply taking in the view. It’s about embracing stillness, something that’s rare in the fast-paced Western world. In Ghana, I felt like I could truly reset and breathe. That’s what I want audiences to experience through the film.How did your trip to Ghana change your sense of identity and connection to your roots?I wouldn’t say I feel more Ghanaian because I already felt Ghanaian. But I do feel more connected to the core—to my great-grandparents, to the land they walked on, and to my ancestors. That deeper connection is what changed for me.Do you see this film as the beginning of a larger project, or is it a standalone adventure?Initially, it was just an adventure I wanted to share with family and friends. I held a small private screening at the Black Activation Month in Amsterdam curated by Bamba Al Mansour, but after that, many people told me it could grow into something bigger—maybe a series or even an exhibition. Right now, I’m still weighing my options, but the message is powerful, and it has the potential to expand in different ways.How does your film differ from other narratives about African heritage and the diaspora?Many African films, like Touki Bouki from 1973, focus on people leaving Africa for Europe. That’s also the story of my parents, so I understand why those narratives exist. But I wanted to do something different—something about going back home and centralizing African countries in the story. The new generation needs to archive our heritage and encourage future generations to return, rather than always seeing Africa as a place to leave.Why is it important to tell stories about returning to Africa, rather than just leaving?Migration stories usually highlight Africans moving to Europe or America, reinforcing the idea that success is found elsewhere. But we also need stories about Afro-Europeans and people in the diaspora going back to Africa - reconnecting with the land, culture, and history. It’s about shifting the narrative and showing that home has value, too.What made this trip particularly special for you?Going with my mother was important because she’s from Ghana, and I wanted to experience it with her first. Then, having my friend join later allowed me to experience Ghana both as a son and as a young man in my early 20s, navigating my own journey. That mix of perspectives made it even more meaningful.Can you tell us about your collaboration with Sankofa Archives and Free the Art? How did it all come together?As the founder of Sankofa Archives, my events always align with building out the archive. My connection with Free the Art happened organically - I’ve known Tim and Berano from Free The Art for a long time. We always talked about supporting each other's projects, and when I did a small, private film screening last October, I wanted to do something bigger. I reached out to Berano about hosting a screening at the Eye Film Museum and expanding it into a full experience. He was on board, and from there, everything came together.Why did you choose the Eye Film Museum as the venue?Growing up, I visited the Eye Film Museum during school trips, and it always inspired me. School wasn’t as creative as I wanted, so these visits felt like an artistic escape. Over time, I kept the idea in my mind that one day, I would screen my film there. Now, it feels like I’m fulfilling a childhood dream.How does the film connect with the exhibition?The exhibition, Onyx Vision by Free The Art, features my photo series Home, which includes pieces made in Ghana. It connects with the film because it visually expresses moments from the film through photography. I took all the pictures myself and some of the pictures from the series also appear in the film. The film is called Home: Where It All Begins, and the photo series is also titled Home. Both capture different aspects of Ghana - the city, the beach, and the people. You often collaborate with Lenny Pharrel. What is it like standing next to your friends in creative spaces?It’s a beautiful moment because we’ve been friends for a long time, and in the beginning, we were both figuring out our paths. Seeing everything come together now feels like a full-circle moment. Exhibiting together in my own neighborhood, Amsterdam Southeast, at OSCAM, alongside Lenny, is really special. We are part of a community - Sankofa Archives - that aligns so well with what we do, so being able to share this moment is incredible.Being able to grow and experience it with friends is a blessing. Creating isn’t just about putting work out into the world - it’s about the act of creating itself. And when you do that alongside your friends, it makes the process even more meaningful. It becomes more of a family affair rather than just work.We've seen Sankofa Archives do their own thing, partner with Patta and provide creative opportunities for people already. What’s next for Sankofa Archives? Sankofa Archives is more of a community platform than a collective. The next goal is to collaborate more while making it clear that it's not just about the people running it - it’s for anyone who has ideas but finds the barriers too high. We want to create opportunities for young and emerging artists.For example, with the Sankofa Archives community, we created an exhibition alongside our film screening to showcase diaspora talent in the Netherlands. Artists like Rarri Jackson, Nora Sofie and Gabriela Akyea, who are incredibly talented but may not always get the platform, are being featured. Our goal is to provide these opportunities through exhibitions, community events, screenings and more.It sounds like you're building something bigger than just an art platform. What’s your long-term vision?Yes, we want to establish a space - both physical and digital - where we archive art, music, film, and culture. We want to document not just the past but also the present, creating an archive for future generations. The next step is expanding our reach, bringing in more people, and forming new connections.If you could take this film and your work anywhere in the world, where would it be?I’m actually traveling to Senegal in March—not for work, but to explore Africa, gather inspiration, and exchange stories. I see a new wave of Afro-European artists reconnecting with their roots, and I want to be part of that. Learning more about where I come from is a big part of my creative journey. My work and my philosophy are deeply rooted in African ways of thinking, and I want to continue developing that perspective.On March 5, the second edition of MovieZone’s: KinoTalk will take place at Eye Filmmuseum, presented by Sankofa Archives and Free The Art. This special edition is led by Thaniel Owusu Agyemang and will feature his film Home: Where It All Begins, a personal account of his journey to Ghana—a deeply meaningful experience that allowed him to explore his identity, connect with his ancestral homeland, and embrace the Sankofa philosophy. Following the film, a panel discussion will take place with Thaniel and other artists, delving into themes of identity, heritage, and cultural connection. To conclude the night, Eye Bar & Restaurant will host a celebratory gathering with drinks and music inspired by the film’s themes. Doors open at 7:15 PM. Admission is free, but registration is required via this RSVP link.