... In 1919 Abel Gance made J'Accuse, a film about the First World War in which the war-dead rise from their graves. In 1938, as the Second World War loomed on the horizon, the French director remade it, the central figure a scientist dedicated to realising a device that'd stop war forever (which, to his horr, is misused). The remake featured disfigured war veterans, playing the risen dead, as part of its aim at staving off the collective amnesia that in part permits catastrophic events to recur. And here we are again. At the Power Plant, in his show The Field of Emotions, Kader Attia channels Gance: in J'Accuse (I Accuse) (2016) he screens the later film for an array of elevated wooden busts based on the mangled men, silent witnesses to historical forgetfulness, and men who were traumatised twice: first by the war itself, then by how society reacted to their deformations. Alongside this, Attia is showing a new, untitled-at-the-time-of-writing film based on conversations with 'various academics from the fields of psychiatry, anthropology, history and art history' that analyses Canada's repressed history of colonisation and slavery, the psychic wounds it has left, and how they impact the present. ...