Robert Beckford is at the forefront of challenging documentary film making. For the first time he reflects on his art, and how he navigates between theology and visual culture as an academic, activist and practitioner. Starting from a clarification of his cultural viewpoint, as someone living in-between various camps, he moves on to review recent developments in documentary theory, in particular the need to engage and challenge audiences rather than simply transmit actuality. Beckford frames colonial theology in the Caribbean as a form of witchcraft practice that bewitched Africans and later black colonial subjects, and discusses the continued impact of this bewitchment, namely in politics and anti-intellectualism in contemporary Black Pentecostal Church life, especially in the UK. He explores the concept of Biblical exorcism, particularly as anticolonialism and transcodes this practice into visual culture (film, art, etc.) analysing his own high-profile documentaries, "Black Messiah", "God is Black", "Empire Pays Back" and "The Great African Scandal", in terms of the expulsion of the occult.