In a 1950s film by the Dutch Reformed Church, ‘Indians’ in Suriname are ‘saved’ by a missionary worker. Paula Albuquerque unmasks the paternalism by radically obscuring the indigenous people in the film from view.

Ansuya Blom alternates a powerful scene of a young man behind barbed wire with 8mm footage from the family archive and footage shot more recently in Suriname. Physical and mental confinement form the common thread.

What’s it like to be an artist named “John Smith”? Despite his success, avant-garde artist John Smith continues to have insecurities about his nondescript name. He ponders the matter in this humorous, multilayered, and stylistically novel account.