Adapted from the short story by world-renowned science fiction writer Ursula K. Le Guin, The Field Of Vision is about mankind’s pursuit of truth and the consequence of finding the answer. In an unknown future, a group of astronauts unearth evidence of an ancient alien civilization on Mars. Concealed within it is a truth so dangerous it threatens to change the world forever. On their return, a psychiatrist is brought in to assess the surviving crew, all of whom suffer from unexplainable physical disorders. What he discovers will shake his scientific and rational beliefs to the core.

Some truths are better left unknown.

The Field Of Vision is a short Science Fiction story written by world-renowned author Ursula K. Le Guin. First published in 1973 in Galaxy Science Fiction magazine, it was then later reprinted in 1975 as part of the collection of shorts The Wind’s Twelve Quarters.

Having grown up with films like Alien and The Terminator, writer/director Siri Rodnes decided she wanted to make a science fiction film for her National Film & Television School graduation project. She then timely discovered the short story on which the film is base. “One of the things I immediately loved about the story was that while it was written in the early 1970s, it was still incredibly pertinent today.” she says. “The themes of scientific discovery, religious experience and our tempestuous relationship to Truth all seem as important now as they ever were”.

“The concepts and themes of the story are timeless, but there were many details that were very retro. I found it instantly alluring to imagine a world capable of sending men to Mars, but still using typewriters.” says Siri. “The story itself was the main inspiration for the retro-futuristic style, but it certainly helped considering our budgetary restrictions. Keen to keep the look authentic we limited the number of VFX, building models and shooting as much in camera as possible, we even used Super 8mm and VHS, as well as our primary shooting format of Super 16mm.”

“Despite the temperamental aging technology, this proved incredibly liberating.” says cinematographer Stil Williams. “Much of the film’s visceral quality comes from the texture we created this way and I think the story really benefits”

It is one of the first and certainly the most ambitious sci-fi film the NFTS has produced in recent memory. Taking inspiration from the films of that era, a huge set was conceived by production designer Tom Goodwin, and constructed on the main stage at the School, where all but one scene was shot.

The spacesuits were made from scratch by costume designer Louise Cassettari for very little money – apart from the helmets, which are real Russian low-space helmets from the 1970s, which producer Caterina Boselli sourced from America. One of the full costumes now lives in the world-famous Prop Store, alongside spacesuits from Alien, Sunshine and Moon.

“It’s amazing how much enthusiasm people have for a project like this.” Says Siri. “Throughout the production everyone has been so supportive. Now the film is finished, I hope the interest continues.”