In Black Mother, New York–based filmmaker and photographer Khalik Allah presents Jamaica in much the same way he presented Harlem in his first film, Field Niggas: as a stream of social consciousness. The black bodies he films on the streets—and in the alleys, churches, homes, woods, and fruit-rich markets of the island—have disembodied thoughts about colonial history, food, health, economics, religion, life, afterlife, globalized exploitation, and racism. Allah, however, emphasizes the bodies of black women, who generate not only black thoughts but also black bodies. In this way, Black Mother is like Beyoncé’s “visual album” Lemonade, a 65-minute exploration of pan-African female blackness that includes images shot by Allah. But the force of feeling in Black Mother is much deeper and even more dangerous than that which courses through Lemonade. by Charles Mudede