Inside a darkened building with decaying white paint, some cardboard boxes has been placed in the corner, not a soul exists. Further into the building, the fluorescent lights gleam. A little girl sits in the remains of the rubble of another section.
A table has been set up off to the side. She stirs some of her food in a pot. She thinks she hears a noise. She turns her head around and then gets up. She looks from side to side, her arms out in defense.
She stands in the center and shouts. Then, she performs her karate moves. She brushes her foot on the ground, raising it up. After bringing it down, she puts her arm out. She takes several steps forwards, rolling her arms back and forth.
She stands in the center again and pauses. She raises her arms forward and crosses them, her hands forming a triangle above her. She hops in place, kicks and then shouts again.
She performs a series of kicks and pauses, breathing hard. She shouts again. She steps to the left side, punching the air with sharp hits. She bows and remains standing.
The little girl is on her own. She has no one to rely on but herself. After losing her family, she learned how to scrounge and search for the necessary items she needed. At nine years old, she has become an adult, cooking whatever she can find and guarding her home.
She likes to lie in the rubble. It reminds her what her home used to be before she had to hide. She remains attuned to any noise, no matter how small. For her, it’s one step before a possible death and she can’t risk it. Everything is suspect.
The little girl has seemingly survived a coup in the country. There are no rescuers to scoop her up nor is there any citizens left to check on her. She has made it through by developing feral instincts and concentrating on every movement. She doesn’t really truly rest. Each moment is important.
Silent devastation is in her eyes. She has seen body parts on the ground, belonging to her neighbors. She has watched her village burn as men shot guns as though who were running out. She’d seen some men take children like her. She doesn’t want to be any of those people. She is alive but is fully aware of her mortality.
Directors: Daniel Askill & Sia Year: 2015
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