7:00 – 9:30 PM The OAK PARK Theatre | Thursday, July 9
Minot, North Dakota | Free and Open To the Public
Limited SEATING available | Reserve Your Seat Online


 As part of the North Dakota Human Rights Arts Festival, a special theatrical screening of 7 experimental and animated films will take place for one evening at the historic Oak Park Theater in Minot, North Dakota. The film series highlights the talents of avant-garde artist artists using innovative techniques in storytelling to highlight important human rights issues.


Doors open at 6:30 p.m. Films begin at 7. Safety procedures recommended by the North Dakota Department of Health’s ND Smart Restart are in effect. Masks will be made available for free for all attendees.

19 films are continually on display as part of the traveling exhibition in museums and art galleries. Click here to learn more.



Year: 2019 | 10 min
Genre: Experimental Film
Language(s): English
Directed by: Walter Mzengi
Country of Origin: Tanzania

Facing a dire situation, a woman flees her badly governed homelands; heading north with the desperate dream of finding a better life. Although she later discovers that to be fully accepted into the community, means losing a part of herself.
Director's Statement
Gulf is a film about identity through the perspective of a refugee, and how much of yourself do you have to compromise in order to feel belonging.

The Scar Runs Through the Pupil


Year: 2019 | 7 min
Genre: Experimental
Language(s): English
Directed by: Amanda May
Country of Origin: Canada

Using a discarded textbook, Amanda depicts her journey as a foster child in the education system. The unforeseen events disrupt the learning narrative.



 Year: 2019 | 10 min
 Genre: Experimental
 Language(s): English
 Directed by: Oscar De Leon
 Country of Origin: United States


A mysterious knocking inside the apartment haunts an already world-weary young man as he starts to lose grip on reality.

Once Upon a Territory


Year: 2019 | 23 min
Genre: Experimental
Language(s): English
Directed by: Fiona Morrison
Country of Origin: Andorra


On route filming from East to west North America, and West to East Canada, showing all the names of Native American Territories, it is a deep homage to them.



Year: 2019 | 5 min
Genre: Animation
Language(s): English
Directed by: Asavari Kumar
Country of Origin: India


Finding herself in a state of limbo, an Indian woman revisits her immigration journey and voyages through a tempestuous emotional landscape of memory, identity, belonging and the illusion of the American Dream.
Director's Statement
After the presidential elections of 2016, like many others I felt an ominous paradigm shift. Rising anti-immigrant sentiment and white nationalism mixed in with the horrors brought to light by the MeToo movement, created a perfect storm of fear, disillusionment and helplessness. Passage was created in response to these forces while exploring the intersecting narratives of varied immigrant experiences. The film is based on my own immigration experience and hopes to steer the conversation away from divisive discourses within the immigrant community and shift focus towards more hopeful and inclusive narratives and discover overlapping experiences. I chose to be intentional not just about what I make but about who I worked with. In the creation of this project I sought out collaborators and artists that believed in the ethos of the film and were conscious of the lack of representation of women and POC artists in the entertainment and media Industry. The team is spread across Los Angeles, San Francisco, Copenhagen, New Delhi and Norwich, bringing a wealth of professional and cultural insight to this film.

Umbrella Dance for Hong Kong


Year: 2019 | 15 min
Genre: Experimental
Language(s): Chinese
Directed by: WONG King Fai
Choreography by: MUI Chuek Yin
Country of Origin: Hong Kong


The Dance Film is mainly responded to Hong Kong Anti-extradition Bill Movement in 2019. The umbrella dance is recorded Hong Kong history from Mainland China took over Hong Kong in 1997, The Umbrella Revolution in 2014, to nowadays revolution. Hong Kong top modern dancer and choreographer MUI Cheuk Yin had co-operated with Pina Bausch. She mixed the Chinese dance and western modern dance to develop her own Hong-Kong style independent dance. The film director WONG King Fai was award-winning scriptwriter. He had very good narration skills and developed new film language to think about how to breakthrough the boundary between a closed stage and an opened real scene. And he explored to mix the different genres with dance film and documentary.

Mui Cheuk-yin is an internationally renowned solo artist and dance ambassador for Hong Kong. Her choreography has a distinctive aesthetic voice and, while contemporary, often incorporates Chinese elements. Her unwavering commitment and passion to strive for the best in dance has earned her numerous honours from the Hong Kong community, including four Hong Kong Dance Awards (2000, 2001, 2009, 2013) and the Distinguished Achievement Award (2012) presented by the Hong Kong Dance Alliance for her dedication and long-standing commitment to developing dance in Hong Kong.

She has been invited to many international arts festivals including Hong Kong Arts Festival (1994, 2001), Belgium International Arts Festival (1994), Lisbon Culturgest (1995), Re:Orient Dance Festival in London (1995), Hong Kong Festival at the Berlin Tacheles (1996), la Biennale du danse de Val-de-Marne (1997), Ein Fest in Wuppertal 25th & 35th (1998, 2008), Venice Biennial Dance Festival (1999), Dancing-World Festival in Copenhagen (2000), the Lyon Biennale de la Danse (2000), Beijing Modern Dance Festival 2001, Dance Biennale Tokyo (2002) and the Images of Asia Festival in Copenhagen (2003). In 2000, Mui was invited by Pina Bausch & Folkwang Tanzstudio to choreograph Whispering Colour and to perform as a guest dancer in The Rite of Spring with Tanztheatre Wuppertal.

Director's Statement
Under the Water Revolution or Anti-Extradition Movement at Hong Kong in 2019, I am thinking how to show the beauty and courage of HongKongers to the world? Mui’s umbrella dance is a prefect icon. First of all, Mui’s dance is a fusion of East and West, which is the characteristic of Hong Kong. Secondly, the oil paper umbrella was a traditional element in Chinese. The umbrella represented the new colonial history of Hong Kong from Britain to China. Actually, Only Hong Kong and Taiwan preserved the traditional Chinese history and Arts during the Cultural Revolution in China in 1960s-70s. The most interesting thing is the umbrella was made by Taiwan(not by China). We want to preserve the traditional arts and develop the modern beauty. In the other words, dancing with the umbrella is an arts form to respect the importance of history. Thirdly, The Umbrella is the symbolic meaning of freedom and democracy. Hong Kong protesters were using umbrella against Tear Gas at Umbrella Revolution in 2014. While the umbrella were used to fight for freedom against bullet in Water Revolution in 2019.

The structure of the film is consist of three parts. First part is concerning China took over Hong Kong from Britain in 1997. Mui discovered the umbrella, which was the symbol of HongKonger’s identity. The harmony atmosphere has changed to a stressful environment immediately. In the second part, we could see Mui dancing with umbrella surrounded by police. And she was defeated by the unequal force. In the third part, Mui waked up to fight for freedom with her umbrella. Even though the Police force is full-gear and well equipped, Mui was not afraid. She represented the Hong Kong protesters against the evil force. She was not sure whether the success would be come. But she never give up. She is brave. And the story of fighting for freedom is going on…

The visual experiment is creating a space in between real and unreal, but also in between documentary and dance film. The idea of art form is inspired by Ukiyo-e from Japan. Layers covered Layers. The bottom showing the documentary of real world was a 2D projection. We set up some real objects in between the dancer and the projection screen. In this film, we could have a new visual experience. I would like to think about the relationship between history background and the body of single person. In fact, even the dancer was dancing in a safe studio and her dance form was coming from 1995. But the background was the real and up-to-date Hong Kong Water Revolution in 2019. So, the dancer’s body language, emotion and spirit is to reflect to the up-to-date movement. In the meantime, she did not get rid of traces of history. All the documentary materials were shot by my team. In other words, my film was thinking how to combine the documentary and dance film, as well as how to connect the city’s memories and the feeling in the moment nowadays. How to do conversation with the society in the form of the dance film?

Another symbol in the film is the snow. Hong Kong is a city with no snowing. But Snowing in June is a metaphor coming from a traditional Chinese tales. Actually, June is not winter. Snowing in June is impossible. When there was an injustice case among the common people who were bullied by the government or power class, the great grievance from the common people would cause snowing in June. The water revolution in Hong Kong started from June 2019. The image of snowing in Hong Kong has an evitable symbolic meaning in the dance.

Through the film, I want to develop the modern artistic form of Hong Kong in the times, to show the beauty, courage, and spirit of Hong Kong.

Wardi (The Tower)


Year: 2018 | 70 min
Genre: Animated Feature
Language(s): Arabic
Directed by: Mats Grorud
Country of Origin: France


Stuck between heaven and hell, forever camping. The history of Palestine told from a refugee camp in Beyrouth.
The mission of the North Dakota Human Rights Arts Festival is to educate, engage, and facilitate discussion around local and world-wide human rights topics through the work of artists. The experimental and animated film series highlights the talents of avant-garde artist artists using innovative techniques in storytelling to highlight important human rights issues.
The exhibition is made possible in part through the generosity of The Arts Partnership, with support from the Cities of Fargo, Moorhead and West Fargo; North Dakota Council on the Arts, which receives funding from the state legislature and the National Endowment for the Arts; and the Fargo Human Relations Commission; J&S Productions; and the support of the Plains Art Museum, the Bismarck Downtown Artists CoOp; and the Taube Museum of Art.