Hinterland is a mockumentary. It’s shot as if everything were real: what matters to me is the impact. I wanted to blur the line between fiction and reality, leaving the audience uncertain about what they’re actually watching. The visual language is deliberately raw and gritty. I choose to distance myself from the polished aesthetic of advertising and from a certain glossy kind of cinema, in order to deliver an image that is alive, imperfect, and authentic. The camera may shake, the light may be missing — all of this is an integral part of the way I portray the decline of consumer society and its imminent end. Hinterland is a critique of the humanity that refuses to see, and it carries a radically environmental message.