BBC Films and BFI present in association with Roads Entertainment with the participation of Bord Scannán na hÉireann/The Irish Film Board A Sligoville / Amoeba Film / Blinder Films production


Directed and Edited by

Grace Jones, Jean-Paul Goude, Sly Dunbar, Robbie Shakespeare, Ivor Guest

World Premiere, Toronto International Film Festival 2017
115 min. – UK/Ireland

Carla Sacks, Krista Williams or Reid Kutrow at Sacks & Co., 212.741.1000.

WestEnd Films: Lucie Braverman - +44 754 222 8766

Grace Jones: Bloodlight and Bami is an electrifying journey through the performance, private and public worlds of pop cultural icon Grace Jones. Jones’ bold aesthetic echoes throughout the film as director Sophie Fiennes creates a powerful cinematic experience, contrasting musical sequences with intimate personal footage and reaching beyond the iconic mask.

Larger than life, wild, scary and androgynous – Grace Jones plays all these parts. Yet here we discover her as lover, daughter, mother, sister and even grandmother, as she submits herself to our gaze and allows us to understand what constitutes her mask.

The stage is where Grace Jones’ most extreme embodiments are realised and her theatrical imagination lets loose: this is where the musical of her life is played out. The film includes unique performances of her iconic hits Slave To The Rhythm and Pull Up To The Bumper as well as more recent autobiographical tracks, Williams' Blood, This Is and Hurricane. These personal songs link to the film’s narrative that follows Grace on a holiday road trip across her native Jamaica, with her son Paulo and niece Chantal. Here the family’s roots and the story of her traumatic childhood are uncovered.

Grace and her brothers Chris and Noel, raised for several years by their violent, disciplinarian step grandfather Mas P, now attempt to understand and exorcise this formative experience. Meanwhile the sensuality of the island and its tropical splendours resonate a pleasure principal that has equally shaped Grace Jones’ appetite for life.

In Jamaican patois, ‘Bloodlight’ is the red light that illuminates when an artist is recording and ‘Bami’ means bread, the substance of daily life. The film cuts between Jamaica and Jones’ public and professional life. Here we see her as a gypsy moving between Tokyo, Paris, Moscow, London and New York, an artist in the recording studio with Jamaican drum and bass duo Sly and Robbie (musical collaborators across her career) or recounting to some backstage groupies her infamous Russell Harty TV appearance, from her side of the story. Warm and funny, she is both Bacchus – the wild partying hedonist – and a fierce and tenacious businesswoman.

Her stage is the fixed point to which the film returns, with Love Is The Drug acting like an aria, bringing the film to its final and most touching scenes including an encounter with French photographer Jean Paul Goude, father of Jones’ son Paulo and creator of her iconic album covers. This is a Grace we have not seen before, someone who reminds us of what it is to dare to be truly alive. In all her apparent contradictions, Grace Jones may appear an exception, but she is also a point of identification: she is the exception that proves the rule.


There’s an enormous amount here for fans of Grace Jones to enjoy, but this film goes much further than that. It’s a very rich and textured portrait both of a performer and of a person. Can you tell us how it came about?

Grace and I originally met because I’d made a film about her older brother Noel’s church in Los Angeles (Hoover Street Revival, 2001) and she said, “You understand where I’m from.” She stood up at the end, clapping, and said, “I love the smell of your film”. Also, she felt that because I come from a big family, I knew something about the shared experience of siblings.

She was in the middle of making her album Hurricane, but we didn’t want the film to be just about that – we wanted to go further. I decided to be very open, just gather footage – gather evidence. When you make observational documentary, you’re completely at the mercy of life as it’s unfolding; you have control over nothing except your creative instinct. I had a bag packed and when she called, I’d just go – to Moscow, to the studio, to New York – as part of her entourage. She actively wanted to explore her relationship to Jamaica and as there was a family gathering there, she brought me along. I happened to be in Paris when she was doing the photo-shoot with Jean-Paul Goude and her grand daughter was born. I gathered material across five years, so I had an enormous amount. Then I began the process of sorting through it, working out what I could do, what the footage I had created could say about Grace.

The footage of Grace and her family in Jamaica acts as a core narrative: there’s clearly a story there that unfolds throughout the film.

There are four filmic layers and the Jamaican holiday road-trip is one. They are interwoven in such a way as to pull the viewer through. It’s like an onion skin: constructing those layers and how they work together is the work of making the film.

The film isn’t nostalgic, its not a bio-pic in the sense of telling the full story of her whole life in a piece-meal way. Grace’s past is always in her present anyway, but the Jamaican material takes us to her origins; the root and the soil which grew her, as much as the narrative of the childhood itself. As I gathered the material, I became fascinated by the contrast between what was natural, in terms of light, skin, sounds and colours and what was ‘anti-natural’, as the film simultaneously follows Grace into her professional and public life - so, the texture of the metropolis, painting her face, living in a series of presidential hotel suites, and her passage to and from the stage itself.

Her performance is powerfully captured with the luscious concert footage that punctuates the film. Watching it, it was a gradual realization that her songs are a commentary on her life – you’ve certainly used them in that way.

Grace sees herself as a storyteller so I approached the performance with that in mind; thinking about the songs as shaping the narrative. I made a rough edit of the documentary footage in advance so I had the best possible sense of what songs would link where, from the mesmerizing fury of Nipple to The Bottle, to her call to action to ‘party!’ that is Pull Up To The Bumper. Grace once said to me, “The music says more about me than I can say about the music.” I hope I managed to bring that sense into the film.

The staging gives Grace the space and freedom to move, and retains her aesthetic language: strong, graphic, elegant. She didn’t rehearse in the set. It’s like she says in the film: ”The performer out there takes the risk.” Her instinct in the live moment is key to how her performance happens, and it’s also in how she relates to her audience. Her performance has changed a lot since the One Man Show in the 1980s. She was much more distant then.

Grace feels powerful being naked; it’s not a point of fear or vulnerability for her. Jasper Conran worked with costumiers at The Royal Opera House to design a corset to give her this freedom to be in her own skin. There’s a quality of attack in how she moves, like a dancer, and it’s also informed by her modelling career. She’s animated by life and in this sense she is properly erotic. Then of course there are the Philip Treacy hats. We pulled this extraordinary wimple from his archives and she wears it when she sings Williams’ Blood; she’d worn that when she sang with Pavarotti.

I worked closely with Ivor Guest, who is the producer of Grace’s album Hurricane. Ivor appears in the film, and is the musical director, overseeing the recording and mixing of the live music. Ivor formed The Grace Jones Band, who have toured with her since 2008.

I worked again with cinematographer Remko Schnoor and we shot on Super 16 mm film. I had in mind the simplicity of those extraordinary sequences of Rita Hayworth in Gilda, where the camera plays in a subtle way with her performance, so you can read and follow what the body is doing. Film is such a sensual medium. I hope people see the film in the cinema, as it’s only there that the sound and picture can be fully experienced.

Even though the music’s incredibly important, she’s something other than a pop star, isn’t she? That’s not what defines her at all.

I see her as a performance artist. Outside of corporate gigs, for Grace, visual expression or making music is an art practice. That’s why she self-funded the album, Hurricane. As she says in the film, “We want the freedom to make the music we want to make.” It’s very personal. It’s like any artist – you’re out there, fighting for your creative life. We see her do that. And we see the pleasure of her making the music, those creative moments when she’s with Ivor Guest and Sly & Robbie.

You’ve made a lot of films that seem to be about performance, or at least about performers. Was that part of what interested you about working with Grace?

Well, frankly Grace is just great fun to be with! She is extremely funny, and I really try to minimise the sense of my presence in the film, so as the viewer you get these two hours with her to yourself, as it were.

But performance is a central part of the person and the artist, Grace Jones, so to make a film that didn’t represent that would have been nonsense. I’m also interested in being as a daily performance. “Who do I need to be today, who do I feel myself to be?” is part of everyone’s life; it certainly is for women.

In this sense Grace is a wonderful subject. It would be a mistake to think of the “mask” with a fixed “self” behind that. We do see her constructing her stage persona: putting on the make-up, the painted mask, and becoming ‘Grace Jones’, but in nearly every documentary scene she’s also unconsciously experimenting with who or what she feels she is. People are immediately struck seeing the film by how she slips between accents: French, English, Jamaican, American or, in Japan, even speaking English with a Japanese accent.

I realised after cutting the film that she is naturally riffing on this question of identity almost all the time, beyond the androgyny she is famous for playing with. “Sometimes you have to be a high-flying bitch,” she says, or “I’m going tribal,” or “I’m human, man! I’m human!,” or “Oh the fucking panther is coming out in me now!” or “I feel like six years old!” or “I’m a Gypsy, please!” She might be a lascivious ‘Williams’, an entitled ‘Jones’ or the dominating ‘Mas P’.

I think it’s fascinating how she realized that she is unconsciously impersonating her scary, Jamaican stepfather, ‘Mas P’, in her stage persona; in this sense her performance is a transformational act. It’s a testament to the creative impulse; she’s not a victim and she is not afraid. She turned that fear around and put it out there, onto us!

Which brings us to another of the film’s layers: her international “gypsy” life. Her location changes almost as much as her identity. She’s so constantly on the move that you really can’t tell where her home is. If someone asked me where she lives, I’d have to say, “On the stage.”

That was deliberate. The stage is the anchor. There’s enough disassociation of place and time that the stage needs to be a physical place we return to, even if Grace’s performance there is shifting according to the songs.

Her international life, sipping Cristal champagne in a fur coat in Paris, is a striking contrast with her world in Jamaica, attending church with her mother or travelling with her brothers to Spanish Town, where they grew up.

For me, this is the beauty of ‘verite cinema’ – or ‘documentary cinema’. I am trying to find a term to define a new genre as it’s so frustrating today that everyone wants to approach films in terms of genres. So it’s not fiction but it’s not journalism either. It’s the richness of time and moment captured. These contrasts we travel through with Grace are simply the crazy contrasts of the world itself. In the edit I discovered I could play all kinds of games, moving between day and night and from place to place with Grace.

Yes, after wild, hedonistic partying in the far-out reaches of an urban night club, we wake up and go to church with Grace in Jamaica; what we see is that her mother is a performer, too – a church performer.

Yes, and we see Grace supporting her mother’s performance in church. Whether you’re religious or not, there is something very powerful that happens with her mother’s performance and Grace within it. For me, it’s because the song touches on the loss of intimacy with her parents in her childhood – this is a large part of the Jamaican story in the film. We see her mother singing jubilantly, ”God’s eye is on the sparrow, and I know He watches over you and me!”, but for Grace it was the eye of the mother that was not there for many precious years of her childhood.

An eye, a gaze, being seen, or simply looking and being looked at: this theme emerged in a powerful way from the documentary material. It’s central to cinema itself, which captures the visual world, but it’s also very personal and critical for Grace, I think. With my camera, I am that intimate gaze, but now I pass this over to each person who views the film.


Grace Jones
Jean-Paul Goude
Sly Dunbar
Robbie Shakespeare

Director – Sophie Fiennes

Producers – Katie Holly, Sophie Fiennes, Beverly Jones, Shani Hinton

Executive Producers – Christine Langan, Joe Oppenheimer, Lizzie Francke, Keith Potter, Francesca Von Habsburg, Danielle Ryan, Alan Maher, James Wilson, Émilie Blézat

Editor – Sophie Fiennes

Cinematographer – Remko Schnorr

Musical Director – Ivor Guest

Hats Designed by – Philip Treacy


Sophie Fiennes/ Director-Producer-Editor

Sophie Fiennes is a film director whose feature documentaries for theatrical exhibition include her collaborations with the Slovenian philosopher Slavoj Zizek, The Pervert’s Guide to Cinema (2006), and The Pervert’s Guide to Ideology (2012), her portrait of German artist Anselm Keifer, Over Your Cities Grass Will Grow (2010), and her most recent film Grace Jones; Bloodlight and Bami (2017), an observational odyssey into the world of the iconic singer and performer. This project came about following Fiennes’ first feature documentary Hoover Street Revival (2001) about a Pentecostal church community in Los Angeles, and the sermons of its preacher, Bishop Noel Jones, brother of Grace Jones.

Fiennes’ work for television includes her first short Lars from 1-10, about the Danish film director Lars von Trier and his ‘Dogme rules’ film manifesto and arts documentaries, The Late Michael Clark,(2000), Because I Sing (2001), VSPRS Show and Tellm(2005), and Liu Xiaodong Half Street (2013). She also made a 5 minute fictional short, First Row Orchestra, for Arte’s Hopper Vu Par (2012).

Fiennes' films have received international distribution and screened in festivals from Cannes official selection to Toronto and Sundance. She was awarded a NESTA fellowship in 2001, to develop her innovative approach to film, and the Arte France Cinema Award in 2008 at Rotterdam’s Cinemart.

Katie Holly/ Producer

Katie Holly is Managing Director of Blinder Films, where she has produced several award-winning and critically acclaimed features including One Hundred Mornings (2009), Sensation (2010), Citadel (2012) and The Pervert’s Guide to Ideology (2012).

Her latest feature, Whit Stillman’s Love & Friendship (starring Kate Beckinsale, Chloë Sevigny, Xavier Samuel, and Stephen Fry), premiered to critical acclaim at the Sundance Film Festival 2016 and enjoyed extended releases at both US and UK box offices.
Another recent release is The Queen of Ireland, a feature documentary about accidental LGBT activist Panti Bliss. Picked up by Universal Pictures for distribution in the UK and Ireland, The Queen of Ireland went on to secure the highest opening box office of any Irish documentary to date.

Her most recent projects include the original TV drama Striking Out, which broadcast on RTÉ in January 2017, as well as Grace Jones: Bloodlight and Bami, a documentary on the musical and fashion icon, directed by Sophie Fiennes. She is also currently in pre-production for Vita & Virginia, which depicts the true account of the passionate relationship between literary innovator Virginia Woolf and her only lover Vita Sackville-West, directed by Chanya Button.

Katie has also produced and exec-produced comedy series for RTÉ including the award-winning The Savage Eye and Irish Pictorial Weekly.

She is a graduate of EAVE, Inside Pictures, was a former Producer on the Move at Cannes, and is a board member of the Irish Film Board and Irish Film Institute.

Shani Hinton/ Producer

Having spent 10 years in private practice in the Film Department at Bird & Bird working with Peter Dally, Shani set up her own law firm in April 2008 to work directly with her key clients. She has wide experience in film development, finance, production and distribution having worked on many varied productions all over Europe.

Her clients include:
Woody Allen for his library titles and directly on all of his films since Match Point including Vicky Cristina Barcelona, Midnight in Paris, Blue Jasmine, Café Society, and the upcoming Wonder Wheel;

Nick Broomfield for his documentary and feature work since Kurt & Courtney through to Whitney Can I Be Me. She is also working with Nick on the development of a feature film based on Ronan Bennett’s novel The Catastrophist; and

Sophie Fiennes for her documentary projects since Hoover Street Revival and Over Your Cities Grass Will Grow and, most recently, Grace Jones: Bloodlight and Bami.

Remko Schnorr/ Cinematographer

Remko Schnorr (1974) successfully graduated from the Dutch Film Academy in 2000. He started to work as a cinematographer on short films, commercials and music videos. In 2004 he shot his first feature-length film Pluk van de Petteflet for Dutch filmmaker Ben Sombogaart. In 2006 Remko teamed up with director Sophie Fiennes on the long documentary The Pervert's Guide to Cinema. In 2009 the short film Missen (Jochem de Vries) received a Golden Palm nomination in Cannes for best short film.

Feature films of his hand are Cornea (2014, Jochem de Vries) and the Swiss Road-Movie Rider Jack (2015, This Lüscher). With Dutch documentary filmmaker Willemiek Kluijfhout he shot the feature-length documentaries L’amour des Moules (2012) and Sergio Herman Fucking Perfect (2015).

Over the years he continued his collaboration with Sophie Fiennes resulting in the documentaries Over Your Cities Grass Will Grow (2010), The Pervert’s Guide to Ideology (2012) and Grace Jones: Bloodlight and Bami (2017).

Remko also keeps shooting commercials, music videos and short films for renowned artists like Katerina Jebb and Erwin Olaf - at home and abroad. His love for working on film and the transfer of textures and tactilities are a feature of Remko's work.

Ivor Guest/ Musical Director

Ivor Guest began his recording career in the late eighties working alongside Sean Oliver (Rip Rig and Panic), Bruce Smith (The Pop Group/PIL) and Tim Simenon (notably on the Bomb the Bass album ‘Clear’). He formed a partnership with Atticus Ross, latterly of `NIN, and together they worked on many projects, notably Barry Adamson’s ‘The Negro Inside Me’ and ‘Oedipus Schmoedipus’, as well as their own project with Tim Simenon ‘Strange Cuts’.

Ivor’s film scoring career began in the UK with Nick Love’s cult movie The Football Factory, and continued as one of New York documentarian Alex Gibney’s regular composers. With Gibney he scored Taxi to the Dark Side, which won the Academy Award for Best Documentary Feature and Ivor was Emmy nominated (a first for a documentary score) for his work on Mea Maxima Culpa -- Silence in the House of God.

Ivor’s work with Grace Jones spans almost a decade-- he produced (and co wrote many tracks on) ‘Hurricane’ and made ‘Hurricane Dub’ in its entirety, as well as doing the musical direction for Jones’ legendary live shows. Recently Grace and Ivor’s track ‘Original Beast’ made an appearance on the OST album for ‘The Hunger Games-- Mockinjay Part One’.

In addition to his work with Grace Jones, Ivor has produced two albums for the iconic French artist Brigitte Fontaine (‘Prohibition’ and ‘L’un N’empeche pas L’autre’) and worked with Brian Eno, Lana Del Ray, Jessie Ware, Skye Edwards, Tony Allen, Dave Okumu, Wally Badarou and Seb Rochford. In France he has worked with Jaques Higelin, M, Christophe, Bertrand Cantat, Arno, Philippe Katerine and Emmanuelle Seigner.

Eiko Ishioka/ Original Staging Concept

Eiko Ishioka (July 12, 1938 – January 21, 2012) was a Japanese art director, costume and graphic designer known for her work in stage, screen, advertising and print media. She was noted for her advertising campaigns for the Japanese boutique chain Parco, her collaboration with sportswear company Descente in designing uniforms and outerwear for members of the Swiss, Canadian, Japanese and Spanish teams at the 2002 Winter Olympics in Salt Lake City and was the director of costume design for the opening ceremony of the 2008 Summer Olympics in Beijing. She won the Academy Award for Best Costume design for her work in Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula and was posthumously nominated for an Academy Award in the same category for her work in Tarsem Singh’s 2012 film Mirror Mirror.

BBC Films and BFI present
in association with Roads Entertainment
with the participation of Bord Scannán na hÉireann The Irish Film Board
A Sligoville / Amoeva Film & Blinder Films production
A film by Sophie Fiennes


Hats Designed by
Philip Treacy

Remko Schnorr

Musical Director
Ivor Guest

Executive Producers
Christine Langan
Joe Oppenheimer

Executive Producers
Francesca Von Habsburg
Danielle Ryan
Alan Maher

Executive Producers
James Wilson
Émilie Blézat

Produced by
Sophie Fiennes
Beverly Jones
Shani Hinton

Produced by
Katie Holly

Directed and Edited by
Sophie Fiennes

Documentary Camera and Sound
Sophie Fiennes


Keyboards, Percussion, Onstage MD
Charles Stuart

Don-E McLean

Paulo Goude

Lead Guitar
Louis Eliot

Bass Guitar
Malcolm Joseph

Andrew McLean

Background Vocals
Hannah Khemoh
Aleysha Gordon


Sly Dunbar

Bass Guitar
Robbie Shakespeare

Martin Slattery

Lead Guitar
Adam Green

Uziah ‘Sticky’ Thompson

Creative Consultant
Oisin Byrne

Original Staging Concept
Eiko Ishioka


Production Manager

Rob Furey

Line Producer
Mary McCarthy

Lighting Designer

Sinead McKenna

LX Programmer
Kevin Smith

Lighting Consultant
Mike Gunning

Laser Artist
Chris Levine

Laser Operator
Ben Couch

Laser Production
ER Productions

Production Designer
Zia Bergin-Holly

Corset Designer
Jasper Conran

Corset Costumier
Karen Crichton

Fay Fullerton

Head of Wardrobe
Jane Dickerson

Wardrobe Assistants
Chris Jones Goran Illicic

Make Up

Pablo Rodriguez

Death’s Head Mask
Eiko Ishioka

Grace Jones Production Manager
Kamal Ackarie

Monitors Engineer
Robin Tombs

FOH Engineer
Pat Tunbridge

Backline Tech Keyboards
Neil Douglas

Backline Tech Guitars
Jef Streatfield

Backline Tech Drums
Darren Alexander

The Grace Jones Bank Recorded by
Cameron Craig

Camera Operators
Richie Donnelly
Ruairí O’Brien
Ivan McCullough
Mick O’Rourke

Camera Crane Operator
Tim Hood

Key Focus Puller
Danny Van Deventer

Focus Pullers
Declan King
Ivan Meagher
Shane O’Neill
Rory O’Riordan

Film Loaders
Graham Scully
Gabe Leavy
Olaya Chesneau
Darren Chesney

Key Grip
Paul Tsan

John Foster

Crane Tech
Ben Cousins

Stabilised Head Tech
Dan Hegarty

Camera Assistant
Zia Pfeiffer

Camera Trainnes
Penny Marelle Gray
Gosia Zur

Camera Car Driver
Eduard Fredericks

Tech Stage Manager
Adrian Leake

Stage Manager
Benny Lynch

Stage Technicians
Johnny Kearns
Jason Coogan

Head Rigger
John Heffernan

Set Construction
53 Degrees

Confetti Canons

Set Transport
Trevor Price

Chief LX
Eamon Fox

LX 1
Cormac Veale

Follow Spot
Barry McSkeen

Show LX
Iarla Morrissey

General LX
Conor Downey
Gary McGuire

Unit Manager – Observe/NEP Group
Ken Binley

Technical Supervisor
Simon Thornton

OB Engineers
Sean Gormley
Mike Berridge

Sound Guarantee
Will O’Donovan

Sound Assistant
Jack Fitzpatrick

Cillian Agnew

Jamie Walsh

Business Development
Steve Curran

Manager Operations Manager
Niki St. Ledger

Venue Manager Olympia Theatre
Aoife McLaughlin

Stage Manager
Fearga O’Doherty

Rehearsal and Lighting Venue
Draiocht Theatre

Tech Manager
Dylan Connolly

General Manager
Teresa McCabe

Willie Wade

Event Health and Safety Officer
Sophie Ridley

Event Publicity
Sabrina Sheehan
Mission PR

Event Guard

Grace Jones Management
Brendan Coyle

Grace Jones Line Producer 2005-06
Alison Russell

Tour Manager
Andy Bernstein

Vanja Joncic

Stills Photographers
Adrian Boot
Jean-Paul Berthoin

Film Publicist
Charles McDonald

EPK Filming
Michelle Ryan

Music Supervisor
Nick Angel

Music Consultant

Vicki Williams

Contributors Clearances
Emmaline Dowling

Archive Research

Emily Thomas

Podium Archive Courtesy of

DV Logging

Violet Ogden

DV Digitising
David Dusa

Technical Assistant Editor
Shane Woods

Artist Liaison
Ciara Davey

Dublin Unit Production Co-ordinator
Sinead Barry

Film Production Co-ordinator
Ruairí Moore

Production Trainees
Kim Manning
Kate Farnon
Kate McDonnell

Philip Treacy Management
Stefan Bartlett

Grace Jones Rehearsal stand-in
Prince Gamede

Vocal Coach
Judith Mok

Film Services
Cinelab London

Film Recording

Adrian Bull

Film Processing
Clive Nichols
John Gurney
Steve Sheridan
Tony Puzas

Film Scanning
Jim Wren
Rob Wickings
Yogi Patel

Additional Colour
RJ Fernandez

Title Design
Matteo Manzini
Awolff Studio

Post Production
Outer Limits Dublin

Eugene McCrystal

Online Editor
Cillian Duffy

Online Assistant Editor
Sam Noone

Post Facility Co-ordinators
Caoimhe Maguire
Jen McCann

Kevin O’Brien

Sound Design
Steve Fanagan

Dialogue Editor

Niall Brady

Re-recording Mixer

Garret Farrell

Re-recorded at

Ardmore Sound Ireland

Live Recordings Mixed by
Ivor Guest
Cameron Craig

Synthesizer Programming
Robert Logan

Additional work on ‘Nipple To The Bottle’

James Watson

Written by Bruce Woolley, Simon Darlow, Trevor Horn & Stephen Lipson Courtesy of The Island Def Jam Music Group under license from Universal Music Operations Ltd Published by Sony/ATV Music Publishing UK Ltd & Perfect Songs Ltd
Administered by BMG Rights Management UK Ltd

Performed by Grace Jones
Written by Bruce Woolley, Simon Darlow,
Trevor Horn & Stephen Lipson
Published by Sony/ATV Music Publishing UK Ltd & Perfect Songs Ltd
Administered by BMG Rights Management UK Ltd
Performed by Grace Jones
Written by Wendy Melvoin, Lisa Coleman & Grace Jones Published by Bloodlight Inc,
Administered by Kobalt Music Publishing Ltd & Chrysalis Music Ltd, a BMG Company

Performed by Grace Jones
Written by Grace Jones & Leslie Winer Published by Bloodlight Inc, administered by Kobalt Music Publishing Ltd & Gertrude Music, Administered by Electric Pacific Songs


Performed by Grace Jones
Written by Louiguy & Edith Piaf
Published by Chester Music Ltd
trading as Noel Gay Music Co
Courtesy of Island Records under license from Universal Music Operations Ltd


Performed by Grace Jones
Written by Barry Reynolds & Grace Jones Published by Universal Music Publishing Ltd & Kobalt Music Publishing Ltd

Performed by Grace Jones
Written by Daniel Miller
Published by Blue Mountain Music Ltd Administered by Kobalt Music Publishing Ltd


Performed by Grace Jones
Written by Sly Dunbar & Grace Jones
Published by Universal Music Publishing Ltd


Performed by Grace Jones
Written by Paul Andrew Slade & Pierre Papadiamandis Published by Riano courtesy of Budde Music


Performed by Grace Jones
Written by Dana Manno, Sly Dunbar & Robert Shakespeare Published by Universal Music Publishing Ltd
Courtesy of The Island Def Jam Music Group under license from Universal Music Operations Ltd

Performed by Marjorie Jones
Written by Civilla D Martin & Charles Gabriel Published by 1905 Word Music LLC Administered by Warner Chappell


Performed by Grace Jones
Written by Bryan Ferry & Andrew Mackay Published by BMG Rights Management UK Ltd

Performed by Grace Jones
Written by Grace Jones
Published by Universal Music Publishing Ltd Courtesy of Island Records under license from Universal Music Operations Ltd

Performed by Grace Jones
Written by Grace Jones & Adrian Thaws Published by Bloodlight Inc
Administered by Kobalt Music Publishing Ltd & Domino Music Publishing Co Ltd

Wells Cargo
Cyclone Couriers

Devine’s Chauffeur Service
Addison Lee

Jamaica Accommodation
Strawberry Hill
An Island Outpost

Media Insurance
John O’Sullivan

Post Production Script
Sapex Scripts

Production Accountant
Billi Webster
Irish Auditors
Grant Thornton

UK Auditors
Malde & Co

Legal Services for Ms Jones
James Kay, Sheridans

Legal Services for Blinder Films
Ruth Hunter


Marjorie Jones, Robert Winston Jones, Chris Jones, Noel Jones, Jean Paul Goude, Annabelle 'Azella' Amigues, Athena Goude, Chantelle Szczech-Jones , Philip Treacy, Sayoko Yamaguchi, Toshio Nakanishi, Ms Myrtle, Marina Guinness, Horace Fiennes, Chris Blackwell, Cathy Snipper, Suzette Newman, Martin Rosenbaum, Leonie Gombrich, Ralph Fiennes, Blaine Davidson, Rosenbaum, Leonie Gombrich, Ralph Fiennes, Blaine Davidson, Milfid Ellis, Imani Wilson, Patrizia Raeli, Guillaume Bougard, Spud Murphy, Marie Helvin, Kelly Berridge, Kevin Thornton, The Mother Dublin Crew, Billy Scurry, Thomas Warren, Ashling Cummins, Ishmael Thoth, Paul Timoney, Spunk Jamaica, Park Hyatt Tokyo, Le Meurice Hotel Paris, Mickey's Jerk Chicken, Amber Rae Hylton, Marjorie Grant, Peter Nigrini, Robert Wierzel, Tracy Roberts, Brian Eno, Dominique Lacloche, Ian Parkinson, Eleanor Mcguinness, Denis Jouffrey, Olivier Kaefer, Virginia Laguens, Squad Salih, Mark Jones, Sherlene Sparkes, Amanda Erlenbach

Director of Lottery Film Fund
Ben Roberts

Head of Production
Fiona Morham

Development Executive
Kristin Irving

Head of Production Finance
Ian Kirk

Business Affairs Manager
Virginia Burgess

Senior Business Manager
Michael Wood

Head of Legal & Business Affairs
Zoe Brown

Legal & Business Affairs Manager
Livy Sandler

Development Executive
Ed Wethered

Marketing Executive

Jacqui Barr

Legal & Production Assistant

Ruth Sanders

Chief Executive
James Hickey

Deputy Chief Executive
Teresa McGrane

Business & Legal Affairs Co-ordinator
Aileen McCauley

Distribution Manager

Emma Scott

Production & Development Executive
Sarah Dillon

Marketing & Communications Manager

Louise Ryan

Commissioning Editor
Kathrin Brinkmann

Executive Producer
Kieron J. Walsh

Production Executive

Aoife Kelly

Head of Development

Yvonne Donohue

Production Assistant
Aoife O’Kelly

Production Assistants
Guilaine Bergeret
Fanny Yvonnet

Lucie Mollof

Production Trainee
Théo Ribeton

With the support of

Developed in Association with
Realised with ZDF in cooperation with ARTE

In association with INEVITABLE PICTURES
World revenues collected and distributed by FREEWAY CAM B.V

Produced with the support of incentives for the Irish Film Industry provided by the Government of Ireland

Filmed on Location in

Made with the support of the BFI's Film Fund


For more information, please contact Krista Williams, Reid Kutrow or Carla Sacks at Sacks & Co., 212.741.1000.