Britanya opens with slow travelling shots of people in their most vulnerable state, asleep. The suggestion of apparent safety contrasts violently with the stories of the sleepers staying in a refugee shelter near Calais, hoping to make it to Britain one day. Britanya uses a form that has become something of a trademark in Boonstra’s work: people reflecting upon themselves in front of a mirror.

From the archive of the International Short Film Festival Oberhausen