Palava Ko, Kasala Ni is a film that treats time as a contested archive rather than a neutral record, folding the 20th century into the present to speculate on futures beyond the colonial imagination. The title – Palava Ko, Kasala Ni, drawn from Nigerian Pidgin English and Yoruba, resists easy translation and jabs at Geoffrey Barkas’ 1926 film 'Palaver: A Romance of Northern Nigeria,' refusing the authority of a colonial narrative even at the level of language. Conceived as a participatory speculative practice, the project returns to British colonial film and digital archives as both evidence and fiction, asking what was staged, silenced, or conveniently misremembered. It entangles human and machine sensibilities to unsettle the epistemic borders of Western modernity. By engaging tools like language, archival materials, art, and Generative AI as instruments of both complicity and resistance, Palava Ko, Kasala Ni occupies the double bind of working within the architectures of colonial knowledge while reprogramming their logic from within. In this sense, the work engages these tools not as neutral, but as temporal instruments of collective reimagination where memory is not recovered intact but actively re-authored. The resulting film is a speculative meditation on loss, recovery, data, memory, and the futures that can emerge when imagination refuses a single timeline. If we can reversion the past while remaining present to ourselves, we can surely step into futures of imaginative possibilities unconstrained by dominance of the Western colonial empire.