Berlin’s international arts community witnessed a groundbreaking moment as Land Invaders, the experimental 8 bit video game created by Anishinaabe Algonquin artist Cass Gardiner and designer Juan Mateo Menendez, made its electrifying debut at the Berlin International Film Festival. Presented within the prestigious Berlinale Forum Expanded program, the project marked a historic first as the only video game ever programmed in the section, signaling a major shift in how global festivals recognize interactive media as a form of cinematic and artistic expression. The premiere transformed Betonhalle at Silent Green into a vibrant gathering space where audiences did not simply observe art but actively participated in it, turning gameplay into dialogue, reflection, and collective engagement.
A New Chapter for Interactive Media at Berlinale
Forum Expanded has long been known for showcasing works that challenge traditional boundaries between cinema, installation, and contemporary art. With Land Invaders, the program expanded those boundaries even further by embracing video games as a legitimate storytelling medium capable of addressing complex political and cultural narratives. Visitors filled the exhibition space during opening night, creating an atmosphere that felt less like a conventional screening and more like a living cultural exchange. Artists, curators, journalists, and festivalgoers gathered around the installation, engaging with the game while discussing its themes of history, memory, and resistance. The enthusiastic response confirmed that audiences are ready to experience storytelling beyond passive viewing, embracing interactive formats that invite participation and agency.
Reclaiming Arcade Aesthetics to Rewrite History
Developed by Indigenous led experimental studio BIRD X BIRD, Land Invaders reimagines the familiar visual language of classic arcade games to explore colonial history from an entirely new perspective. Drawing inspiration from early 8 bit gaming culture, the project initially appears playful and nostalgic. Yet beneath its retro surface lies a powerful conceptual framework. The game proposes an alternate timeline in which Christopher Columbus’ ships never reach Turtle Island, allowing players to symbolically confront colonial forces through reflex based gameplay. As participants engage with the mechanics, the experience gradually shifts from entertainment to critical reflection, encouraging players to reconsider how historical narratives have been constructed and whose voices have been excluded.
Gaming as Cultural Memory and Resistance
Rather than presenting history through lectures or traditional documentary forms, Land Invaders uses interactivity to explore themes of Indigenous sovereignty, historical erasure, and intergenerational trauma. The gameplay itself becomes a metaphor for resistance, allowing players to actively participate in reshaping narratives rather than simply consuming them. By merging Indigenous futurist perspectives with familiar gaming mechanics, the project positions technology as a tool for cultural survival and storytelling. The result is an experience that balances joy and playfulness with profound emotional and political resonance, demonstrating how digital media can hold space for healing and reflection while remaining accessible to diverse audiences.
An Opening Night Filled with Energy and Community
According to creator Cass Gardiner, the premiere generated an atmosphere of excitement that exceeded expectations. Players of all ages gathered around the leaderboard, competing enthusiastically while celebrating victories over symbolic colonial forces. Gardiner described moments of laughter, friendly rivalry, and curiosity as audiences engaged with the installation late into the evening. One memorable interaction involved a young girl eagerly asking Gardiner to move aside so she could play, a reminder that even deeply political art can create inclusive and joyful experiences. The reaction underscored the project’s unique ability to spark meaningful conversations while remaining approachable and entertaining.
Public Programs Expand the Conversation
The exhibition extends beyond gameplay through a series of public programs designed to deepen dialogue around Indigenous storytelling and emerging media. An artist talk titled Unauthorized Versions invited audiences to explore the creative process behind the project, while a special discussion at the Embassy of Canada examined Indigenous approaches to XR and immersive art. Led by Indigenous Screen Office representative Isabelle Ruiz, the conversation brought together Gardiner and Menendez to discuss how ceremony, land based knowledge, and cultural sovereignty can be embedded within digital technologies. These programs highlight the broader cultural significance of Land Invaders, positioning it as part of a growing movement redefining how Indigenous creators engage with new media platforms.
Support from Indigenous Creative Networks
The project received support from the Indigenous Screen Office and the Indigenous Cinema Alliance, organizations dedicated to strengthening access, visibility, and opportunities for Indigenous storytellers worldwide. Gardiner’s participation as a 2025 Indigenous Cinema Alliance Fellow further reflects the expanding international network supporting Indigenous innovation across film, gaming, and immersive media. Through collaborative efforts like these, projects such as Land Invaders gain the resources needed to reach global audiences while maintaining cultural authenticity and creative independence.
Redefining the Future of Festivals and Storytelling
As Land Invaders continues its run at Betonhalle through February 22, visitors are experiencing firsthand how interactive media can reshape the festival landscape. The project stands as a landmark achievement not only for its creators but also for Berlinale itself, demonstrating that video games can exist alongside film and installation art as powerful vehicles for storytelling. By blending nostalgia, political commentary, and participatory design, Land Invaders challenges audiences to reconsider both history and the future of media. Its success signals a turning point in contemporary art culture, where gaming is no longer confined to entertainment alone but embraced as a meaningful platform for dialogue, imagination, and transformation.
Click here RSVP link here:
Stay tunned with me:
She’s All Over the Place Podcast
Click on Instagram
About me here