“Time of the Heathen” (1961) is a long-lost cinematic gem by theatre director Peter Kass. A poetic, surreal indictment of war violence, the nuclear arms race, and the devastating impact of racism. What begins as a rural noir with a typical “wrong man” in the lead gradually tilts into a chilling, proto-psychedelic trip. The film unfolds less as a classic narrative and more as a visual eruption, in which its critique of the consequences of disruptive American foreign policy and war logic lands like a grenade.
With hardly any dialogue and a strong emphasis on image and rhythm, a feverish allegory emerges in which communication fails and meaning constantly shifts. The result is an intriguing, at times alienating viewing experience that compels the viewer to draw their own connections—in a universe where silence speaks louder than words. Time of the Heathen thus becomes a visionary reflection on racial tensions and the post-nuclear trauma of postwar America. Cinematography and editing are by the legendary experimental filmmaker Ed Emshwiller, who is also responsible for the 20-minute dream sequence at the end.
“When in doubt, yes.”
With this phrase, Alabaster DePlume effortlessly won over a Ghent audience during his memorable appearance at the Theresia concerts a few years ago. The London-based saxophonist, singer, composer, and poet operates at the intersection of spiritual jazz, folk, and spoken word. His music is carried by warm, repetitive motifs and an open, intuitive playing style that can be both comforting and confrontational.
He broke through with To Cy & Lee: Instrumentals Vol. 1 (2020) (which may be known for the now-legendary “Be Nice To People”), followed by the critically acclaimed Gold: Go Forward In The Courage Of Your Love (2022), and later releases such as Come With Fierce Grace (2024) and A Blade Because A Blade Is Whole (2025). He has also collaborated with artists such as Bon Iver, Kamasi Washington, and Sampha.
For Time of the Heathen, DePlume composes a new live soundtrack in dialogue with the images—and with the silence that is so characteristic of the film.
