“The photographies of the protests thus visually encompassed the tension between the counter-political and the anti-political permitted by the ambivalence of photography. Kannan Arunasalam captured this anxiety in his poignant film installation. This consisted of two screens set up side-by-side. The first recorded a quiet day at the Mullaitivu protest camp, with the camera looking outwards from a tent onto the road as its residents contemplated the mundane, the war, and their future. On the second, by contrast, the camera turned to the 500th Day demonstration at Kilinochchi, where the protesters wailed in visceral grief, holding up photos of their loved ones,” Vindhya Buthpitiya, Absence in Technicolour: Protesting Enforced Disappearances in Northern Sri Lanka, Journal of the Royal Anthropological Institute, 2022