Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

This movie feels like it was made purely to piss off people who want good shows

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

This is early Sean Bean and Prime John Hurt. The Photography and Direction are very reminiscent of Michelangelo Antonionini, but not as "out there". The similarity was clearest in the use of silence, particularly during grand, panoramas of windswept desolation. Whether in the American deserts or London parks, Antonionini gave us a sense of presence which is seldom found. He had us sitting, and viewing, and listening. Here, we also hear the wind and watch the dust devils forming and moving in their dance. We feel. This seemed to be an intimate "behind the scenes" look at Africa during Apartheid, with the Good, the Bad and the Ugly. Many cultural beliefs and daily lifestyles shown in an extremely believable manner. I'm not sure how, but I felt that I was there.There was a simple plot, but with enough twists to maintain interest. Without a needlessly complex web, the focus was on authentically portrayed lifestyles and location. One could felt the heat, the dust and the people. I could easily picture several of my African friends in the scenes. This was an undiscovered gem.

On how to make a good film. This was shot on location, the locals giving it an authenticity that few films, at least those out of Hollywood, can achieve anymore. Sean Bean played his character brilliantly, no histrionics, no speeches, just real life, at least a facsimile of it, captured on film and through the seamless acting of Bean and John Hurt. An excellent murder mystery wrapped up in the politics of an apartheid South Africa. PoSSIBLE SPOILER: The actions of the SA police officer tracking the killer and the white farmer seemed, at times, intertwined and almost conspiratorial. The plot unfolded slowly, giving us potential setups for targets for the killer, that were not taken. In the end, it's revealed, maybe, why he was killing. I am lucky I caught it on Movieplex this evening, otherwise I would have missed a true gem.

Instead of hitting one over the head with this film, this movie allows you to feel a period in South Africa through the actor and the actual country. It is a careful and slow paced film about the problems of South Africa during a specific period of time. Fortunately, some of those problems have been resolved, but the power of this film is that it was filmed in the country of origin. You can be moved by the atmosphere, the surroundings, and the plot which does keep one guessing for quite a while. Sean Bean is stunning both physically, and as ALWAYS perfection acting-wise, as the central character in this film. His stillness and emotional range at the same time will transfix you to stay on board throughout the film. You keep wondering if he will make, or if the other central character will make it, but this film does not charge at you and beat you over the head with the message. The message is the film, and it is delivered by a seamless craftsman, Sean Bean, and an elder statesman of film, John Hurt. Not to be missed.

With great actors such as Sean Bean and John Hurt this is really an amazing movie with great cinematography and a larger than life type story that is both bright and well written. On the acting side Bean did his do's and is more believable than most actors acting Afrikaners in almost every movie, (ahooy Mr Shucks) Windprints was a brilliant piece to watch and it is kind of sad that it was banned in its country of origin, South-Africa. But hell if you really want to watch it, pay a visit to the South-African film Archive in Pretoria. That is the only facility with a copy.