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But for a film so based around the performances of these monologues, green frequently obfuscates the performances of the actors even while presenting them as the sole focus, not just cutting away from their faces but from a lot of the emphatic bodily motions, leaving only the text - its early act can feel a little like listening to an audiobook. The film’s most interesting points come from how it confronts the quiet oppression of language choices used around Black struggle. An elderly woman speaks about the nature and importance of and the appropriation of protest, what has been sanitised by liberal white groups and what has been appropriated by corporate entities. The film is constructed from speeches about different aspects of Black living in the US and in the UK, starting with a young man wondering about how he might appear less threatening to a white person, or a cop. Based on her play of the same name, the focus of ear for eye remains entirely on monologue and theatrical performance, the characters isolated against a black background, the only set dressing being some wooden chairs and an instrumental from a Run the Jewels track. Watching ear for eye, you don’t have to know who debbie tucker green (the name is intentionally decapitalised) is to immediately place her as a playwright. Debbie tucker green has re-written her highly acclaimed play ear for eye for film.

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