What initially struck me about The Tent was its stillness and careful framing. Many of the shots appear like moving photographs, as opposed to narrative cinema. But the enduring image that I left with — the heart of the film — is a motionless shot, filmed inside the tent, of the women as they go about their daily lives — fixing the mud floor, cleaning, packing up the sleeping mats, preparing tea, chatting. In The Tent, a sense of connection or continuity with the violent past is not constructed through testimonies, but through the situated, temporal rhythm.

Struan C. Gray, ‘The Times and Spaces of Disappearance’, Centre for Memory, Narrative & Histories, University of Brighton