Dawood's cutting Edge analysis of post-colonial Northern England and allegory of alienation and dialectic between the settled and the Settlers, those yet to be settled, brings to the fore previously unheard of narratives of migration. positive and negative aspects of mass resettling, and the interplay of dialogue between those groups. this is a worthy film and one anyone living in modern day multi-racial Britain should watch this, end of story, it also has a club ready soundtrack which is always a plus. In an age of electronic Orientalism, images of the backward Asian as coy virgin and as demonic unbottled genie proliferate in the British media and by extension the public imagination. Hence the primary definition of a plurality of Asianness through pathological discourses around Islamic identity and a crude politics of victimology. Notwithstanding the frail premises of such parlance, its ability to reactivate a particular paranoid rationality owes much to the fetishization of technology as ideology where high-tech industry is allied to a contemporary instrumental rationality to generate a pervasive psychopathology. Within these 'modern' technoscapes perhaps we can" rethink prosthetic ideas of mechanically reproduced participatory democracy by taking on board Les Levidow's suggestion that:'If we are to subvert such reification of our collective social labour, then we will need somehow to dereify technology, to appropriate its potential for mediating social relations between people' (Levidow 1994).

This film does have a message: the message being ...... AVOIDI'd seen the reviews on here but was prepared to give it a go and LoveFilm had no problem with that. Whilst its only 80 minutes long - I lasted 15 and boy, they were the longest 15 minutes of my life and I hope they're not THE 15 minutes the famous wig on a stick spoke about. I'm all for ambiguity, jump cuts, static, vertical hold shift, non- narrative, but if it hadn't been for the sticker on the Lovefim DVD case I would have been none the wiser for being none the wiser. I'm sure this wowed the lecturers at film school, and whilst I'm not asking for a car chase or even Danny 'Gor Bless Him' Dyer, I wanted, nay, needed some raft of hope to cling to. But, rather like the bloke in Titanic,I was still clinging, but the cause and all hope had been lost .........

This is not a like in any way shape of form, except, and this is a small conceit to give a nod to the quality of the actual film work. That said this is not something that you can watch with even the slightest distractions, or you will be so lost. The acting is silly, the story is inexplicable, and if you thought that The Tree of Life was a boring movie, then good luck getting through the first 5 minutes of this. The camera distortions, and the vertical hold "glitches" are so 1962. There is not one shining star in this film as far as the actors go either sadly. I did watch the whole thing, and I paid close attention, I get what happened, and it seemed to be for the best for them, I get that. I just don't think this was a very good movie to watch. My eyes were attacked with bad cutaways, and strange little still lives that made no sense since these folks have only been on earth around 60 years, then how were those times before them significant? Well suffice it to say I did not Enjoy this film, and do not recommend it to anyone. Well if you know one of those flakes that will believe what ever they are told, then they may just be enthralled by the pretty Brightness.

This is not a film for everybody. Closest to something like Liquid Sky it is a willfully bizarre low budget sci-fi film that owes more to experimental film-art than Spielberg-esque fantasy. Not an easy watch but rewarding and strangely memorable even if half of the time you have no idea what is going on. Funny in places, mesmeric in others, as if a British soap opera had been re-created by some alien species using only the synopsis from TV listing magazines. Bold and unapologetically bonkers. It also has a superb psychedelic soundtrack from Acid Mothers Temple. It is the sort of film that was more commonly made in the 1960s and 1970s when film makers cared more about their own vision rather than that of any potential audience.