Klatsassin takes its title from a Tsilhqot’in chief (the Tsilhqot’in are Athapascan-speaking Aboriginal people in British Columbia) and will include two series of photographs and a high-definition video projection. The video, set in 1864 in the forests of Canada’s Cariboo Mountains, focuses on the hostility between the Tsilhqot’in tribe and encroaching settlers seeking gold on the Chilcotin Plateau. Klatsassin led an insurgency but at first evaded capture. He was eventually lured with the gift of tobacco, taken prisoner, tried for murder, and hanged.

Like many of Douglas’ previous works, most notably Journey into Fear (2001) and Suspiria (2003), Klatsassin is a recombinant work – essentially non-linear, it defies the limitations of a traditional film format by having no real beginning or end. Referencing Akira Kurosawa’s legendary film Rashomon (1950), in which a plot is described in several contradictory ways, in Klatsassin a murder unfolds through flashbacks, time shifts, ambiguous cuts, and multiple perspectives. Douglas refers to the film as a “dub western,” as its multi-layered plot develops much like a musical composition, with five levels of narration that interrupt and overlap one another. The soundtrack was composed by contemporary Berlin dub project, Rhythm & Sound.

Also on display will be two series of photographs; the first a group of cinematic-format landscapes and interiors in British Columbia – Stanley Cemetery, a Masonic Lodge in Barkerville, the Maritime Worker’s Hall and McLeod’s Books in Vancouver, Quesnel Forks, Walhachin, and Spences Bridge – the second a series of black and white portraits of the characters from Klatsassin.