When her village is threatened with forced resettlement due to reservoir construction, an 80-year-old widow finds a new will to live and ignites the spirit of resilience within her community.
“I come on set or to the page as a novice, an amateur. I have allowed myself to dream and not filter anything. I have come to understand that ideas have a life of their own, all I have to do is to free them from myself. Technique and language are things to be used but not necessarily embraced. Of course, this comes with years of making bad art. As far as the camera and composition, Pierre, my DP, and I had synchronised love and passion for beauty. He has a very particular way of seeing light. I called him ‘the god of the sun’. I also trusted him with the choice of camera we should use, which was the Sony Venice. It served us best in low light conditions since we did not have much lighting gear. We had to make do with the light we had in no-man’s land. [...] I wanted to develop a new cinematic language. I was heavily inspired by Brechtian Theatre, which recognised the ability of Naturalistic theatre to have great social influence, but at the expense of its capacity to arouse aesthetic pleasure.
I am hopeful that Resurrection will provoke rational self-reflection, just as Brecht’s Epic Theatre encouraged a critical view of the action on the stage. I hope that each person who engages with the film will allow their own ideas around it to permeate and take on their own form.”
Lemohang Jeremiah Mosese1