The classic way cinema is viewed is in a closed off box (literally and metaphorically). When the most exciting purpose of film is the opposite, it’s for challenging views and disorientating the audience. And that is exactly what ‘The Scar’ did. The film is presented as an art installation at ‘HOME’, viewed in three separate, transparent hanging cylinders: the state of the state, the mouth if the shark, the gossip, each representing a different part of the story. The disordered nature of this experience creates a disjunctive, complex film, that really makes you think about the state of each character… whether it be mentally or physically. Take Yenge, the girl who escaped and joined ‘The Gossip’: a network of transnational feminists, fighting against the patriarchy. Everything from her demeanour to the way she does her hair in this final component shows her journey into strength and independence. Yenge perhaps represents the way society should be changing, to a more positive, inclusive place. We see this in the third cylinder, a panorama of three screens, showing a group of women around a campfire. Here they talk about their personal lives, each story bringing a new viewpoint into women trying to break their way through a patriarchal, oppressive society.