Lost Land's simple cinematic gestures express a fleeting beauty infused with a knowing sadness -- that questions our own ignorance of the Sahrawi situation. Its political resistance isn't overtly propagandized, but rather modestly presented as a lost series ofprofoundly beautiful images and scenes, which lead the viewer closer and closer to an almost imaginary but all-too-physical wall. To me (James T. Hong), Lost Land is an urgent, aestheticized work of mourning -- a lost memory of a lost people in a lost landscape filmed in a lost format.
