STATUES ALSO DIE (2020), borrows its name from a 1953 film by Chris Marker and Alain Resnais, Les Statues Meurent Aussi, about the effects of European colonialism on traditional African Art. The film suggests that when a wooden sculpture is taken away from the tribe and out of the jungle, away from the drumming and dancing to be put on display under glass in a museum, the sculpture loses its original significance and is transformed from a mystical object into a decorative commodity. In the context of our film, it subtly refers to contemporary issues concerning the fate of confederate statues while also posing the question, when vandalism is taken out of the wild and off the street and put into a gallery, does it also lose its power?