w ^ith a title seemingly aiming this film at younger generations, 这部由 22 岁的弗朗茨·伯姆 (Franz Böhm) 撰写的充满活力的纪录片实际上是所有年龄段人士的必看之作. Cop26 has shown how the media landscape is driving a wedge between age groups, with young activists’ work met with misconceptions and ridicule. But this film, as it chronicles the struggle for justice and equality across 香港, Chile and Uganda, is an intimate and empathetic portrait of young people who are simply fighting for a brighter future.
What arises from these vignettes of radical activism and protest is a sense of deep attachment to one’s home, the kind of unconditional love that galvanises spirits into physical and ideological battles. After the raising of metro fares in Santiago in Chile, a move that would directly affect low-income families, Rayen became one of more than a million people who protested and called for President Piñera’s resignation. Their demands, 然而, were met with police brutality; nearly 400 protesters were blinded as a result of seemingly deliberate targeting. Such dangers are eerily similar to those endured by young Hong Kong dissident Pepper, who was on the frontline during the demonstrations against controversial extradition laws.
In both locations, the camera, like its subjects, takes to the streets, capturing the fervour and the peril of the protests at a close range. Moreover, as the narration consists entirely of the activists’ own voices, the film acquires an urgent immediacy, as the young women are enabled to tell their own stories. Not all the stories are so effective: in contrast to Rayen’s and Pepper’s militant struggle, Hilda’s fight for climate change awareness in Uganda feels at times haphazardly edited and out of rhythm with the rest of the film. 仍然, this remains an impressive debut from such a young director, who is clearly marching in step with his progressive peers.