The document provides details for tasks to complete while watching films for the Aesthetica Short Film Festival between November 3rd-6th. Participants must watch a minimum of 9 film collections from at least 5 different genres, 2 masterclasses, 1 university showcase, and 1 guest programme. They must also submit a schedule and short reviews of the films, showcases, and programmes they viewed, discussing genres, themes, and how they relate to the participant's career or studies. The tasks aim to provide valuable research for participants' essays.

1. Programme
https://issuu.com/aesthetica_magazine/docs/asff2020_programme?fr=sNj
dmZDE3NDY1NjM

2. Task Details
• Between 3rd-6th November you need to watch and discuss (in
this document)
• A minimum of 3 film collections a day between Wednesday and
Friday (p163-231).
• 3 days (WED-FRI) X 3 films = 9 film collections total (minimum).
• There are 14 genres total- you need to have watched films from at least 5
different genres (genre details p157-161).
• A minimum of 2 Masterclasses during the week (p66-93).
• A minimum of 1 University showcase (p52-55) (Full details- p99-
115)
• A minimum of 1 Guest Programme (p117-142)

3. Task Details
• You will need to plan your time throughout the week accordingly to watch your chosen films and
seminars.
• In the schedule- reference the genre of each film you have planned to watch and the page reference.
• Focus on films that are linked to your career interests, FMP ideas or planned University studies.
• Audio- Animation, Experimental etc
• Video Games- Animation, Experimental etc
• Print- Advertising, Documentary etc
• Try to choose films that are relevant to your individual essay topic and feed it into the essay as
additional research.
• Your pass will last the full duration of the festival until Sunday 8th Nov so watch as much as you
want. This document just details the minimum of what we need you to do.
• Add extra slides as necessary (for watching additional films, showcases etc).
• When you are done delete all the BLUE slides and upload to website in the
PROGRESSION section. This will be marked and contributes to your
submissions so must be completed properly.

4. Task Details
• EXTENSION (VOLUNTARY)
• Create something…
• An infographic about the different films they've watched - include key info about the
film/story/makers.
• An infographic about one film they watched that tells the narrative and talks about
techniques used.

5. Genres
1. Advertising
2. Animation
3. Artist’s Films
4. Comedy
5. Dance
6. Drama
7. Documentary
8. Experimental
9. Family Friendly
10. Fashion
11. Narrative Feature
12. Documentary Feature
13. Music Video
14. Thriller

6. EXAMPLE Schedule
TUESDAY WEDNESDAY THURSDAY FRIDAY
FILM COLLECTION 1 Animation 1 (p175) Advertising 1 (p187) Comedy 4 (p200)
FILM COLLECTION 2 Documentary 1 (p76) Animation 4 (p191) Dance 2 (p201)
FILM COLLECTION 3 Drama 1 (p178) Artists Film 1 (p192) Documentary 4
(p203)
MASTERCLASS Memory and
Reflections (p67 –
10:30am)
Inspirational Cinema
(p71 – 12am)
UNIVERSITY
SHOWCASE
University of Lincoln
(p104 – 10am)
GUEST PROGRAMME Indigenous Cinema
(p118)

8. Schedule
TUESDAY WEDNESDAY THURSDAY FRIDAY
FILM COLLECTION 1 Just Another Day on Earth
(Time & Place, Artists'
Film 2)
FILM COLLECTION 2 Connections: People,
Place and Identity (Love &
Chunder, Thriller 3)
FILM COLLECTION 3 Connections: People,
Place and Identity
(Separation & Memories),
Animation 4
MASTERCLASS BBC Writers Room:
Creating Captivating
Narratives
Frame by Frame:
Animated Stories
Industrial Light & Magic:
New Horizons in VFX
UNIVERSITY
SHOWCASE
GUEST PROGRAMME Brazil in the Spotlight:
Vibrancy and Creativity
Voices from the Arctic:
Norway on Screen
Indigenous Cinema:
Celebrating Sovereignty

9. Films 1
• As part of a movie collection exploring contemporary issues as well as past behaviours
and possibly future behaviours, Singularity stands out from the rest due to its nature as a
short experimental film attempting to explore how an artificial intelligence may perceive
the world. One of the elements that draw me into the film was the clever use of
transitions as the camera would transition from one environment to the next in the blink
of an eye I.e. One second, you may find yourself hovering over a beautiful lake, the next
you may find yourself in a bustling Hong Kong airport or alleyway. Additionally, its use of
time-lapse photography and minimalist music is reminiscent of Koyaanisqatsi, though
whether this was intentional on the filmmaker's part is at best ambiguous.
• While the concept of time-lapse photography and minimalism isn't new in any way, it
was no doubt a bold and daring risk on the director's part to cut down what must have
taken hours to film to a short runtime of two minutes. To the unseasoned viewer, this
may appear repetitive and jarring but to those who are familiar with such a concept, I
can guarantee that this short film will draw you in the instant it starts. It is impossible to
think of any shortcomings surrounding this flawless masterpiece and I would strongly
recommend that anyone familiar with films such as Koyaanisqatsi or Baraka watch this.
FILM TITLE FILM GENRE
Singularity Experimental Short Film

10. Films 2
• Coming from the same collection of films as Singularity, WATA is a delightful, if somewhat
bizzare, experimental short film that relies solely on music, allowing it to stand
independently from the rest of the films. A joint collaboration between two directors,
the film is a visual delight from start to finish. This is particularly evident in the use of the
colour blue which, although not the colour I would necessarily have used, is used to
great effect in its various shades and form, whether it's in water (possibly a swimming
pool) or even in a nightclub with blue light streaming down on a person's face.
Additionally, the interpretive dance routines which have been spectacularly
choreographed, allows the dancers involved in the film a natural, fluid sense of
movement as they tell the story of dance's journey.
• While it is difficult to find a flaw in this amazing short film, the only one that I feel could
be improved on is the length as several of the dance routines seem to go on for at least
two to three minutes too long. That criticism aside, however, this is another piece that
has beautifully and lovingly crafted together by two people with a passion for dance in its
many forms and another one I would recommend to others, be they aspiring young
filmmakers or an audience member eager to try something new.
FILM TITLE FILM GENRE
WATA Experimental Short

11. Films 3
• Telling the story of a woman who stumbles across scandalous secrets that could jeopardise the campaign
she is representing, It Will Get Better is a taut, thought-provoking, character-based political thriller that grips
audiences by the edge of their seat and doesn't let go. Unlike many other short films, this short film does not
hesitate to study humanity and the lengths people are prepared to go in order to stop damaging secrets
from reaching the public and is a very fitting response to Trump's America, taking a very strong stance
against corruption and giving the film the edge it needs. What initially drew me into watching this film was
the character of Luisa who, as the lead character, is the one who experiences most changes and evolution as
the story continues, starting as a happy (if somewhat underappreciated) and well-to-do poster girl to a
political individual, determined to ensure the truth is revealed at any cost even if it means losing her job.
Towards the end of the film, there is a scene where she contacts her family over her laptop, showing that
she has everything to lose if she fails in her mission.
• Throughout the film, I felt as though I was experiencing everything the lead character was, particularly her
paranoia at being found out, which contributed to the excitement. The only criticism I would be prepared to
give for this otherwise well-structured film is that the ending feels somewhat open-ended, despite the fact
that the lead character was able to send off an audio recording that she had taken earlier in the film and we,
the audience, do not get to see the people behind the political campaign get their comeuppance, although it
is likely that this implication has been made deliberately by the director. I would strongly recommend this
political thriller to anyone, as it carries a strong, thought-provoking story like that of All the President's
Men or Tinker Tailor Soldier Spy and carries a powerful message that people in power should take care to
heed: The truth will out.
FILM TITLE FILM GENRE
It Will Get Better Political Thriller

12. Films 4
• From the opening scene of this documentary, it is evident that Between Us and the World is a no-
holds-barred, brutally honest look at death and how it has impacted on a Brazilian family living in
the suburbs, specifically the death of a young teenager who was murdered by police during a raid.
One of the film's key highlights, from this writer's perspective, occurs halfway into the film when
Erika, Theylor's mother, and her cousin are looking at pictures of him when he was a toddler
which clearly shows that although death can be cruel and uncompromising, it can also bring
people together to honour the deceased's memory and reminisce about some of their favourite
moments of time with them. Having experienced grief myself recently, albeit in a different
capacity, it is a huge relief to see a film tackle a sensitive subject as grief so accurately, where
others would completely miss the point
• In watching the film, during the film's quiet moments, I was surprised to find myself close to
tears. One of these moments took place to towards the end, when Erika is having a conversation
with a family friend about how Theylor behaved when he was a baby while cradling her newborn
daughter, Alicia, in her arms. By doing this, director Fabio Rodrigo demonstrates that while the
family have endured hard times, the new addition to their family will give them strength to pull
through. Another good short film that people should find the opportunity to see.
FILM TITLE FILM GENRE
Between Us and the World Documentary

13. Films 5
• As the final film in the Brazil Short Films collection, Unliveable is unique in that it is the
only film which combines two completely disparate genres together, utilising story tropes
from family drama (a woman searching for her daughter having been presumed missing
from some time) and science-fiction (a strange device found in her daughter's drawer,
which could be a clue to her disappearance). Set approximately two to three months
before the coronavirus pandemic, it is a fascinating study of how far a parent will go in
order to find their missing child, like Hugh Jackman in Denis Villeneuve's critically-
acclaimed 2013 thriller Prisoners. Unlike his character, however, the mother in this short
rightfully does not go to the extent of torturing people for information but instead relies
on friends in order to aid her search, all while trying to solve the mystery behind the
mysterious cylindrical object her daughter brought back with her which, incidentally,
happened to be part of the reason why I was drawn to watching it.
• However, the only criticism I would apply to this film is that the ending in which the
woman's daughter suddenly appeared out of the blue felt somewhat shoehorned in and
not in line with the rest of the film's otherwise grounded aesthetic. Otherwise,
a worthy effort of feature-length proportions which, as with the previous films, comes
highly recommended.
FILM TITLE FILM GENRE
Unliveable Science-Fiction/Drama

14. Films 6
• Dog Eat Dog, a short Norway film made two years prior, is a thought-provoking character-based
drama in which a woman, following a suicide attempt by her ex-boyfriend, finds herself having to
re-evaluate her relationship with him before doing something she could end up regretting. What
makes this short film truly special is that, despite its function as a work of art first and foremost, it
has been made in a way that makes it feel grounded in reality, particularly the scene where the
leading woman character, Silje, has a delicate conversation with her friends about her ex-
boyfriend's attempt to kill himself and throughout she hesitates and pauses, thereby revealing to
the audience that she is not particularly comfortable with what she is saying, despite it needing to
be said.
• Another touch which I felt was particularly inspired was the use of classical music in
certain scenes, which often reflect the tone of said scenes and the mood of the characters with
one having a somewhat mellow tone, indicating that they will soon find themselves in an
awkward situation of some sort while the other is considerably more rousing indicating that
something bad is happening or has already happened, as is evident at the beginning when Silje
walks in to find Thomas attempting to hang himself. As with Singularity, it is impossible to find any
flaws in this masterful short film and is undoubtedly one of the best international short films that
I have seen throughout the entire festival.
FILM TITLE FILM GENRE
Dog Eat Dog Short Film

15. Films 7
• What is a Woman, another Norway short film from the same collection as Dog Eat Dog, is another
unique example of a short film, being that it is the only one to take place inside a singular space,
making it almost reminiscent of an episode of Inside No. 9, albeit set in a women's swimming-
pool dressing room. Throughout the film, a discussion takes place as to whether a transgender
woman can enter the women's dressing room with more and more people joining in until the
situation is eventually blown out of proportion. This aspect of the film is particularly fitting, as
there were regular reported cases of transphobia in media during the waning years of the 2010s,
which is here represented by a swimming instructor who does not question her place in society
and is determined to steer the conversation in her favour, As with Dog Eat Dog, this gives the film
an added edge that helps to keep the film grounded, almost as if the discussion were taking place
in real life.
• While the film itself is flawless, particularly in its inspired choice in using a singular room to set
the scene (as mentioned earlier), the only thing which I feel could have been improved was giving
the trans woman a platform with which to speak and therefore be part of the discussion itself
instead of feeling like an afterthought and being taken for granted by the others, something that I
believe was not intended deliberately by the director. Despite this, she is not completely
robbed of the ability to speak and is granted the last line of the film for her patience,
providing the film with a much-needed air of humour that was otherwise lacking in the story.
FILM TITLE FILM GENRE
What Is a Woman? Short Film

16. Films 8
• From the moment of its inception, it is already evident that Between is considerably more
spiritual in nature compared to the short films I have viewed during this festival and even more so
than the films in its collection Indigenous Cinema: Celebrating Sovereignty. The film itself, while
hard to watch in certain places particularly towards the end, is a wonderful and thought-
provoking exploration into how people will seek out guidance when they feel they are lost and
don't know what to do next. This is touched upon both literally and metaphorically for the lead
character, as she attempts to seek out a reclusive community elder for said guidance after getting
lost in the vast wilderness of Swaziland. But where the film's spiritual heart truly lies, and the
same moment which nearly reduced me to tears (which was all part of the experience) was when
the community leader tells her that she has never been lost but that it is now time for her to
move on, after helping others find more fortunate lives at the expense of her own, foreshadowing
what is implied (but not seen) at the end of the film to be her own accidental death.
• This film is beyond all doubt a fine example of independent filmmaking at its best, boasting plenty
of shots showcasing the majestic scenery of Swaziland, complete with trees and rivers, and an all-
African cast and crew, which, of course, marks a refreshing change from many of the white-
dominated short films appearing on the website.
FILM TITLE FILM GENRE
Between Spiritual Short Film

17. Films 9
• As part of the Separation and Memories collection, Fragments, an autobiographical animation,
recounts the struggles experienced by a bi-racial teenager struggling to come to terms with her
identity, as she experiences endless ridicule from her peers. Unlike the first eight films I have
seen, this is the first (and indeed the last) short film to tackle the subject of mental health. Having
experienced a brief deterioration in my own mental health some six or seven years back, I found it
fascinating to see her mental struggles and how it affects those around her, particularly her
father. This aspect of the film allows it to transcend its own limitations as an animated short film
and root the story firmly in reality, which is particularly fitting given a large number of mental
health cases skyrocketing in the wake of the coronavirus pandemic.
• The one thing that I felt could have been expanded upon more in what is an otherwise amazing
film is the racism that she is subjected to by her peers, during an attempt to try and fit in with her
white friends by changing the colour of her hair only to be turned away by several demeaning
comments, which can be heard off-screen and seen on her phone screen as she checks her social
media. Despite this being a perfect set-up for a subplot, it is never discussed or shown again. Still,
when it comes to studying the mindset of its character, the film does not hesitate to delve straight
into the rabbit hole, allowing the audience to discover what secrets may be revealed, however
unpleasant they may be.
FILM TITLE FILM GENRE
Fragments Auto-biographical Short Film

18. Masterclass 1
• This Masterclass, hosted by animator Anthony Farhquar-Smith, was a thought-
provoking essay which delves into the complex process of helping bring the world
of a stop-motion film to life. Having previously been unaware of his involvement
in prominent stop-motion films such as Tim Burton's Corpse Bride as well as
Fantastic Mr. Fox, I was also surprised to learn that he was also a leading animator
a short stop-motion film called Flatworld, created using cut-out animation from
pre-existing sources. During the Masterclass, he also revealed his role in bringing
a number of key sequences in the Fantastic Mr. Fox adaptation to life, particularly
the cider room sequence that occurs nearly 30 minutes into the film in which he
would place different liquids and hues inside the miniature cider bottles in order
to give it a golden-y orange hue as well as ensuring the figures of Fantastic Mr Fox
and Rat were carefully positioned for each frame that was shot of their
confrontation. While I was fully aware of the nature of how to create a stop-
motion animation beforehand, it was refreshing to hear it from a voice that was
very passionate about the work they did and do so in a way that treated the
audience with respect.
MASTERCLASS TITLE
Frame by Frame: Animated Stories

19. Masterclass 2
• This Masterclass, hosted by sound editor Andrew Stirk, gives us an informative insight into how
sound is used to create a sense of realism in a film and help bring the world of said film to life.
Originally, I had planned to attend a masterclass tackling a similar subject which would have
explored how sound is used to give the narrative of a story an extra dimension. But due to having
missed said class due to external reasons, I decided to attend this one instead. And in doing so, I
was able to learn how the process of creating a decent soundscape is carried out, aptly
demonstrated by clips from A Private War and You Were Never Really Here. With the former, this
was shown by repeating the same clip but with different elements played out each time, such as
the dialogue as recorded during the shoot, extras muttering in surprise and shock at the sound of
an explosion, the sound of rubble crumbling on the floor (foley, possibly accomplished by the use
of biscuits crumbling) and finally the use of sound effects (such as the Skype jingle, as Rosamund
Pike's character attempts to call CNN News) to name a few examples. With the latter, the use of
square boxes plays an important part in trying to help us understand the character's frame of
mind, as shown during a clip as he lays his mother to rest in a watery grave and almost
inadvertently drowns doing so. Although I understand the process of incorporating sound into
films, having watched documentaries which have used certain sections to explore said process, it
was a genuinely pleasant surprise to hear it as part of a 60-minute demonstration from someone
passionate about the use of sound in film. The tone of Stirk's delivery throughout the class was
quite friendly and passionate, with no indication of condescension throughout.
MASTERCLASS TITLE
Bringing Cinema to Life: Authentic Sound
Worlds

20. University Showcase
• Although this was the only University Showcase screening I would attend due to a packed schedule across the entire week, I was ultimately happy to do so as this showcase
displayed a wide selection of films using a different variety of styles and genres, ranging from documentaries to stop-motion films, comedies to tragedies and so on. While I
was not able to watch the Q&A due to the software I was using, I nonetheless felt that the films I had watched spoke for themselves and to watch people discussing would
have spoiled the magic. The first film, Moskha, looks at life in a city of Northern India that nobody, save for those with an encyclopaedic knowledge of the country, would
know about called Varansi. This film was my personal favourite of the six presented in the section, as it focused on how religion as well as the customs of the town has had an
impact on the people who have arrived on its shores, as well as how acts of kindness and humility towards each other can go a long way, especially in an age where hatred
and division reign supreme.
• The second, Fred & Kev,which focuses on the exploits of two skateboarders, is a comedy which sees them going from misadventure to misadventure as they attempt to prove
themselves as professional skateboarders to their friends, often resulting them taking part in a series of hilarious antics, which sometimes don't end well. A fun look at
skateboarding in the London suburbs, if somewhat rude in its humour.
• The third film, Stay Still is a thriller which focuses on a man driven by his desire for sex, only for his evening to start unravelling, completely oblivious that the events of his
evening are part of a much bigger plan for revenge. This film is undoubtedly a fitting response to the Me Too movement, and does not hesitate to explore the desires and
hyprocrises of men and women are affected and marginalised by their actions while asking the most important question of all: What does it mean to be a man/woman?
• The fourth film, New Factory, a stop-motion film satiring current political events, focuses on the efforts of a scientist to find a cure for a seemingly incurable disease/virus and
attempts to present her findings to the Prime Minister (a thinly veiled satirical version of Boris Johnson) who hopes to profit from it, sending her into a whirlpool of despair.
After commiting suicide, the bacteria that forms part of the cure she's discovered come to life and decide to exact revenge upon the Prime Minister. A dark and surreal film
relying only on music to tell the story, it is an informative and strangely humourous look at what can happen when greed and money is prioritised over kidness and charity.
• The fifth and penultimate film in the collection, My Other Half, focuses on a young man named Noah who keeps the hearing voice of his former lover in his head while trying
to come to terms with the circumstances that caused him to leave in the first place. It is a touching and sensitive study into grief and how it can affect us personally as well as
the people around us, all while battling our past demons.
• The sixth and final film, Antidote, is not a conventional film in any sense of the word but is instead a trailer which advertises a series of short films made by aspiring
filmmakers of different nationalities chronicling the mindsets and adventures of people living in lockdown. While it is impossible for me to formulate an opinion due to this
film being a compilation of clips of other films, they nonetheless look very promising with each clip promising that each film is set to provide something different, new and
exiciting.
• In the end, I chose to watch this particular showcase of films from the Regent's University in London because the films featured a diverse range of talent in comparison to
some of the other film packs I had seen and each film touched upon a subject or issue that the filmmaker or filmmakers were particularly passionate about and the personal
nature of the films clearly shows in how the films have been crafted together.
SHOWCASE TITLE
Unique Storytelling: The Individual
Perspective

21. Guest Programme
• Housing an eclectic selection of short films made from a variety of filmmakers across the world, Indigenous Cinema: Celebrating
Sovereignty, takes the audience on a journey deep into the rabbit hole of representation and does not hesitate to bring
uncomfortable subjects to light, which may include cultural appropriation or systemic racism.
• The first film in this collection, the aptly named Whiteface, features two actors playing two different actors taking on numerous
identities in the space of several minutes, ranging from two right-wing Americans (one of which later begins to suffer a crisis of
conscience) to masked tribesmen and so on. Although I didn't think highly of this film due to its bizzare story choices, I felt that
the choreography during the scenes where the two actors were dressed in masks was spectacularly done and helped to bridge the
gap between their discussions together.
• The second film, Ochiskwacho, focuses on a woman named Kokoom and her grandchildren living in the Canadian forest and finds
herself torn between staying with her grandchildren or staying with the eponymous being of the film's title. Although we never get
to see exactly what the mysterious being looks like (with only fleeting glimpses painting a small picture as to what it could be), it is
nonetheless an emotionally nuanced film which demonstrates the importance of family, such as when the main grandchild goes to
confront the being to demand her grandmother's release after she has seemingly been kidnapped.
• The third film, Kupanishkueu, is the first of two films that focus primarily on the spiritual aspect of life and chronicles the
journey of the director to understand how the bravery of her ancestors has influenced her life. What I felt was particularly inspired
about this short film is that, as a first in this collection, the focus is primarily placed upon the visual landscape of the Canadian
mountains and forests with next to no dialogue throughout its duration, except perhaps a few sporadically-used snippets.
• The fourth film, The Tongues, which marks the end of the first half of this collection, focuses on a woman wandering the snowy
wilderness of Norway during a blizzard only to discover a man killing deer without provocation. Although there were a number of
scenes that were very hard to watch, particularly when the man skins the deer of its fur to be used as a coat and the woman cuts
out his tongue in order to stop him exaggerating what has happened, I feel it is a beautifully made film which shows that wildlife,
in this case, deer, is something that must be protected and preserved if they are to be saved from extinction.
GUEST PROGRAMME TITLE
Indigenous Cinema: Celebrating Sovereignty

22. Guest Programme (cont’d)
• The fifth film, Between, which marks the beginning of the second and final half in this collection, is the second of two films that focuses on the
spiritual aspect of life and is set in the Swazi outback and focuses on a woman who finds herself lost in the vast wilderness of Swaziland while
attempting to find a reclusive community leader and seek out his guidance. As mentioned before in Slide 16, this film is a wonderfully thought-
provoking study as to how we often turn for advice from others when whenever we follow lost and alone.
• The sixth film, Gik:skwood: How I Lost My Indian Name is a two-minute documentary directed by Terry Jones (not to be confused with the deceased
Monty Python actor) in which he chronicles how he lost his original name and the events leading up to this event taking place. Although we see very
little of what the director is telling us, save for a few snippets, his descriptions allow the audience to paint a picture of the turbulent life he had,
ultimately leading to a series of images which can be hard to imagine. This is evident when he describes being hit viciously by a woman upon asking if
he will be able to get his name back. Otherwise, a fantastic insight into cultural appropriation and how a name can be so cruelly taken away by the
most domineering of people.
• The seventh and penultimate film, Mud, chronicles a day in the life of an alcoholic woman called Ruby and the effects her behaviour and craving
towards drink has on others. Although this film was particularly distressing to watch throughout, particularly when Ruby argues with her son at a
petrol station in the middle of nowhere, it is nonetheless important for us all to realise that alcoholism is a very dangerous thing and how we react to
people under the influence can often affect the way they behave. This could not be demonstrated more perfectly in the same scene where the two
argue over her behaviour and, upon turning her son away after he has repeatedly offered to take her home, he drives off in a fit of anger leaving her
to wander aimlessly in an alcoholic daze.
• The eighth and final film in the collection, I'll Remember You as You Were, Not As What You'll Become, serves a tribute to deceased poet Diane Burns
and focuses on the existence of being and morality, with quotes from her readings being utilised throughout as we transcend from one landscape to
the next. Although I found the film to be somewhat hard to follow, due to having difficulty interpreting the meaning of the images being put on
display, I nonetheless feel that the use of images being interspersed with clips of Diane Burns reading her poems was a visual achievement that other
aspiring filmmakers who have an affinity for the abstract might find to be particularly hard to top. Additionally, the use of imagery of people walking
to and fro about their business (enchanced as a negative in post-production) while a choir sings "Present Joys" is yet another example of how imagery
and music can work together, putting the audience in mind of Koyaanisqatsi and/or Fantasia (particularly the Toccata and Fugue section of the latter.)
• In the end, I ultimately decided to watch this guest programme because I felt it to be important to not just see the diversity of landscapes, from the
Canadian Mountains to the snow-capped paths of Norway, but to see the lives of indigenous people across the world, from America all the way to
Africa, to be represented accurately, to show that these talented indigenous filmmakers do indeed have a voice and they will not be marginalised by
people determined to paint them in the annals of history as nothing.
GUEST PROGRAMME TITLE
Indigenous Cinema: Celebrating Sovereignty