Final Rating: 3.5/5
From directors Neil Diamond and Joanne Robertson (the team behind Red Fever), So Surreal: Behind the Masks is a powerful documentary which brings to light the story of how the surrealist movement was inspired by indigenous art work (mainly of the tribes living on Canada’s west coast) and the attempts to get these pieces back to the community that crafted them.
The masks they primarily focus on were part of a traditional potlach ceremony, which celebrated various occasions such as marriage, death or a new chief. There are a number of artifacts we learn about, but the transformation masks in particular are beautifully intricate in their carving and design, while being an instrumental part of the culture. The loss of these pieces and the meaning ascribed to them is at the heart of this narrative.
Diamond travels from Alert Bay BC, to Paris and New York and points in between on the trail of where this artwork went when it was taken from the community. Along with art critics and dealers alike, they search the art community and various auctions to try and find these valuable pieces. As these masks were used in traditional native celebrations, they were taken from the communities when Christians took over, as they felt it was an affront to God and wanted them to conform.
Art collectors and private dealers swooped in at this opportunity and collected these items to sell and they soon were all over the globe. In retrospect one thing that was beneficial to the community, and those now searching for them, was that several of these dealers took very precise records (numbering many of the pieces) and detailed photos of the items so that they can now be verified when found.
As these masks made their way to the US they were ‘discovered’ by other artists and as they note in the film, the question that arises is: are these pieces valued of their own accord, or because of their connection with the surrealists who owned them? As with any art, the value often comes from the name attached to it. The pieces were revered by this new wave of artists coming to America from Europe during WWII and inspired them to create.
The conversations with several members of the Alert Bay community working to reobtain these pieces are eye opening in the way they present how careful they have to be when approaching those who may have information on or perhaps even possess them. The language they use is pivotal as the word repatriation has a heavy connotation that frightens many with the possibility of litigation.
As such, they are very diplomatic in their approach, often asking about a pure donation or selling to a buyer who is willing to donate it back to the community. This also provides intriguing insight into the art world itself, and how secretive it can be in regards to not disclosing who may have a certain piece, where it was obtained, or where they may look to find such items as to disclose this may lead to further, oft uncomfortable, questions for the owner and dealers.
There are many ups and downs along the way as several of the pieces are given back to the community (one former owner even attended the ceremony to celebrate with the community) and others are still out there, waiting to be reunited with their creators. The film interviews a number of individuals from the community who in both tactful and more direct terms make it clear that these pieces are cherished and should be restored to their people’s place.
It also charts the history of them and how influential they were without many even realizing it. In this day and age as we have a growing understanding and appreciation for what these cultures lost and are trying to re-establish, the film shines a light on the beauty of the work, what it represents and how educating people on its significance is pivotal to understanding.
So Surreal: Behind the Masks was seen during the 2025 International Film Festival of Ottawa.
