The film, produced over the course of four years, follows a convicted murderer, Uisdean, struggling to rebuild his life and his reputation in the remote Highland village where his family have lived for 200 years, and where he now cares for his father.

The project initially started as a short film, in which McLoughlan said she “very much let him tell his own story. I didn’t edit it very much.”

The purpose of the longer film was to be “a lot more sceptical, a lot more socially responsible,” and bring editorial balance to Uisdean’s explanation of his criminal past.

McLoughlan said that she “realised that [Uisdean’s] biggest battle would be staying out of prison, and that was probably where the story was going to be.” Her suspicion was right, and Uisdean’s battle to stay out of prison becomes the documentary’s defining narrative.

What makes Uisdean’s story fascinating is the internal conflict between his apparently violent history and his budding romantic relationship that is captured on camera.

Regarding the significance of the film’s stunning imagery of the Highland landscape, McLoughlan explained, “I knew that he was ridiculously romantic about the Highlands – the idea that it would in some way cleanse him.”

The film seeks to redress that “idealistic” image of the Highlands, and illustrate that it is also a landscape of conflict.

“Sometimes there is an issue of the Highlands being more a case of shortbread and [tweed] costume than substance.

“It is a Highland myth that it’s cleansing and pastoral in itself. I became fascinated by the image of a porcelain boy [in Uisdean’s father’s house] which looks incredibly cute, but when you look closely at him, you see he’s throttling a rabbit by the neck.”

The documentary’s soundtrack, which features a score of electronic Icelandic and Scottish-Norweigan folk music was also chosen to reflect that conflict, that “mixture of the beautiful and the ugly going on at the same time.”

The external conflict of his setting was an apt reflection of Uisdean’s own internal struggle. McLoughlan was interested in exploring “when [the landscape] is a healing thing for someone who’s been in a very tiny cell for sixteen years, and when it’s a torment, because there are no other distractions. There is just you, and your past, and your failure to reinvent yourself.”

From 7 – 21 March, the Frontline Club and the Scottish Documentary Institute are teaming up to present New Scottish Documentary, a series showcasing some of the the boldest and most innovative new works produced in Scotland.  Featuring one screening per week, we’ll be celebrating the richness of Scottish nonfiction filmmaking, including discussions with veteran documentary makers and up-and-coming directors to watch.  The programme includes Scotland on Screen, an evening of short films produced with assistance from the Scottish Documentary Institute and showcasing the diverse beauty of the Scottish landscape.

This screening will be followed by a Q&A with director Lou McLoughlan.

This remarkable BAFTA nominated film from the new Scottish school of documentary filmmaking follows a convicted murderer over four years as he struggles to grapple with rebuilding his reputation in a remote Highland village while caring for his father. Though the film controversially gives the protagonist space to protest his innocence, an incredible four years of footage investigate his character – and the shattered hopes his pattern of recidivism leaves behind him.

16 Years Till Summer represents part of an exciting new wave of documentary filmmaking sweeping international festivals from Scotland; as such, it’s as bold in it’s subject matter as it is sceptical of finding ‘truth’ only in traditional forms of documentary film language. Prepare to have your preconceptions challenged.

Lou McLoughlan was one of BAFTA’s 2011 Brits to Watch, an initiative showcasing new British talent to the international industry. Her short, Caring For Calum, won two BAFTAs in the Scotland New Talent awards. 16 Years Till Summer is her newest feature. The film had its world premiere at Visions du Reel 2015, and was selected for Sheffield Doc/Fest‘s 2015 ‘Best of British’ documentary series.

Directed by: Lou McLoughlan
Country: United Kingdom
Year: 2015
Runtime: 80′

Omar Khadr, a Canadian citizen who was captured by American forces in Afghanistan in 2002 and spent a decade imprisoned at Guantanamo Bay, tells his own story in this documentary portrait from directors Patrick Reed and Michelle Shephard.

In prison Khadr struggled to endure the inhumane conditions and the demoralising improbability of release. In the outside world, public outcry mounted as the US and Canadian governments refused to take action. It took the relentless work of Dennis Edney, Khadr’s lawyer of over a decade, to advance the case. Finally repatriated to Canada in 2012, and released in May of this year, Khadr then faces the Harper government’s attempt to overturn his bail.

Featuring unprecedented access to former fellow inmates, family members, and government officials, Guantanamo’s Child acquaints us with an incredibly resilient young person who grew up in a tragic setting and analyses the political implications of his case.

Investigating a life that has sparked some of the most heated political debates in recent history, filmmakers Patrick Reed and Michelle Shephard reveal a young man who is cautiously ready for another chapter of his life. And for the first time, Omar Khadr himself tells us his side of the story.

Directed by: Michelle Shephard and Patrick Reed
Produced by: Peter Raymont, Michelle Shephard, Patrick Reed
Runtime: 80′
Country: Canada
White Pine Pictures

Discussion to be moderated by Richard Gizbert, presenter of Al Jazeera English’s The Listening Post, a weekly show that looks at news coverage by the world’s media. Gizbert has also spent 25 years working in the media world as a foreign correspondent, covering stories around the world.

Panelists:

Moazzam Begg is one of nine British citizens who were held at Camp X-Ray, Guantánamo Bay by the US government. He was released on January 25 2005 without charge. He is the director of outreach for advocacy group CAGE and author of Enemy Combatant. This year he was imprisoned by the British government on charges relating to Syria, his case was later dropped.

Michelle Shephard is an investigative reporter with the Toronto Star, author and filmmaker. With patrick Reed she co-directed Guantanamo’s Child, which premiered at the Toronto International Film Festival in September 2015.  Shephard has been awarded the Michener Award for public service journalism and won Canada’s top newspaper prize, the National Newspaper Award, three times.  In 2011, she was an associate producer on the Oscar-nominated documentary Under Fire: Journalists in Combat.  She produced the National Film Board documentary, “Prisoners of the Absurd,” which premiered at Amsterdam’s film festival in 2014.  

Cori Crider heads the Abuses in Counter-Terrorism team at international NGO Reprieve. A U.S. lawyer, Cori has spent a decade investigating and litigating the most serious violations of the ‘war on terror’: Guantánamo, CIA rendition and torture, and civilian deaths from drone attacks in undeclared war zones.
She devised Reprieve’s challenge to abusive force-feeding at Guantánamo, which resulted in the first disclosure of videotapes of the process. She also developed Reprieve’s project investigating the drone war in Yemen: her team exposed key details of a drone strike on a wedding convoy, and brought a Yemeni man whose innocent relatives died in an attack to Washington, D.C. She represents two Libyan families whom U.S. and British intelligence ‘rendered’ to the dungeons of dictator Muammar Gaddafi.
Cori regularly gives print and broadcast interviews on counter-terror abuses and has written for the Guardian, CNN, al Jazeera, and the Huffington Post.