Ain’t Got No Fear + For Those Who Will Follow

Ain’t Got No Fear 

Mikhail Karikis, UK, 2016, DCP, 10’

Mikhail Karikis filmed Ain’t Got No Fear with a group of teenage boys who are growing up in the militarised post-industrial marshland of the Isle of Grain in South East England. Using as their beat the persistent crushing noises of the demolition of a neighbouring power plant, which used to provide employment for the majority of local villagers, the boys sing a rap song they wrote about their lives. They recall memories of being younger, express their wish to find work, and imagine their future and old age. Created over a period of nine months, during which Karikis developed friendships with local youth, this multi-awarded film oscillates between a music video and observational cinema.  This unique cinematic experience reveals a way in which industrial sites are often re-imagined by youths with a form of spatial justice defined by friendship and play, the thrill of subverting authority, and evading adult surveillance.  

The film was commissioned by Whitstable Biennale 2016 & Ideas Test.

For Those Who Will Follow (Pour la suite du monde)

Pierre Perrault / Michel Brault / Marcel Carrière, Canada, 1963, DCP, 105’


Α seminal and rarely-screened documentary that records the inhabitants of Île-aux-Coudres, Quebec, as they revive their traditional practice of beluga whale hunting. Pierre Perrault burst onto the documentary scene with this debut, co-created with fellow Quebeckers Michel Brault and Marcel Carrière, which opened a path toward “direct cinema” and a revival of documentary filmmaking for the following generation. Even 60 years after its creation, this film remains important for the unique way it engaged, or some say was “acted” by, the women and men of Île-aux-Coudres, assuming without fear or prejudice the jagged relationship between documentary and fiction. Seen today, the film invites us to reconsider the time it takes to really look and listen to people, and how a collaborative form of cinema can serve to write not only the past, but also the present, for all those involved.

Back to the 2018 Program