This quixotic first feature by experimental filmmaker Ephraim Asili (The Diaspora Suite) is equal to the sum of its parts—part narrative, part documentary, and part collage, it’s a combination of filmic modes and revolutionary ephemera fused to uncommon effect. The scripted parts of the film, based on Asili’s own experiences as a member of a Black liberationist faction, center on an emerging Black radical collective in west Philadelphia called the House of Ubuntu. The 20-something Julian (Eric Lockley) inherits his grandmother’s house, as well as her personal archive of materials related to Black life and liberation; Julian’s partner, Gwen (Nozipho Mclean), is the one to suggest they turn it into a communal living space. The couple opens the house to other Black people—mostly creative types, like poets and musicians—aiming for all official decisions to be made by consensus. A prominent focus of the film is the separatist group MOVE, whose headquarters the Philadelphia police bombed in 1985; the assault started a fire that killed 11 people (including five children) and destroyed 65 homes. In several illuminating sequences, real-life members of MOVE come into the house to speak of their experiences. Likewise, the poets Sonia Sanchez and Ursula Rucker also appear, further blurring the line between fiction and reality. In the manner of Jean-Luc Godard’s La Chinoise (1967), a key influence on the film, Asili makes observable cultural references through shots of books, magazines, records, and posters (including one for Godard’s film), often contrasted against the house’s colorful walls. This was shot on 16mm; between the grain of the film and the grit of the past, it’s palpable here in the present.