SYNOPSIS
A man returns to a nameless city, seeking to remember who he is. Following his journey, the film explores the tension between wandering and community, loss and recovery. Within the blurred lines of reality and fiction, fragmented narratives and mythic images probe the inner conflict between exile and belonging. Yet this is more than one man¡¯s story; it is an elegy for a city and its people, trapped between the weight of memory and the inevitability of loss. A dreamlike, poetic tribute to the art of cinema, it ultimately explores the meaning of homeland and identity.
REVIEW
In his autobiographical essay film Ancestral Visions of the Future, Lesotho-born filmmaker Lemohang Jeremiah Mosese conducts a poetic dialogue between memory and exile. He weaves recollections of his childhood in a mountain village in Lesotho with the dislocated reality of his life in Berlin. A recurring motif of flowing red cloth acts as the film¡¯s central thread, embodying both a vibrant cultural memory and the unsettled conditions of a postcolonial present.
Described by Mosese as a requiem for his mother and an homage to cinema, the film blends mythic imagery, rap-like poetic narration, and an organ-heavy soundscape into an experience that demands to be felt as much as seen. Sensory and visceral, it places itself in the lineage of autobiographical essay films alongside canonical works like Marlon Riggs¡¯ Tongue Untied.
It also continues the deeply personal explorations of his acclaimed feature Mother, I Am Suffocating. This Is My Last Film About You. (2019). Here, Mosese ventures further into the fantastical, crafting an immersive audiovisual work that also reflects on the cinematic medium itself—deepening his career-long inquiry into memory, identity, and the elusive concept of home.
CONTACT
Paradise City Sales
anais@paradisecity-films.com