Orban Wallace’s documentary on the right-to-roam movement highlights a group advocating for an equitable approach to access for walkers in England and Wales, akin to the rights established in Scotland through the Scottish Outdoor Access Code, enacted by the Land Reform (Scotland) Act of 2003. In Scotland, individuals enjoy the privilege of temporary, non-motorized access—which encompasses walking, cycling, and camping—on most lands, whether public or private, provided it is done responsibly. These rights have been in place for some time, and contrary to fears, have not led to widespread devastation of the countryside.
The motivations of some advocates within the right-to-roam movement in England may extend beyond mere access rights, as they may be willing to escalate their protests beyond the organization of peaceful mass trespasses. The documentary features interviews with landowners, including Francis Fulford, who has gained notoriety as a vocal and controversial figure in the media, reminiscent of a caricature from Viz Comic. Fulford’s stance is clear as he defiantly proclaims, “Get off my land.” In contrast, other landowners, like Hugh Inge-Innes-Lillingston, approach the subject with humor about his peculiar name and demonstrate an openness to exploring innovative access management solutions. Reflecting on land’s profitability, one might recall Tara Palmer-Tomkinson’s quip that land only generates significant income when a motorway is constructed on it.
The film also depicts lively protests, featuring morris dancers and participants dressed in Wicker Man costumes. Viewers may anticipate a dramatic confrontation between the intrepid trespassers and the antagonistic landowners, but such a conflict does not materialize. It is possible that the presence of cameras dissuaded any potential clashes. Alternatively, if Wallace had sought out such a scene, he could have employed hidden cameras to capture an altercation.
This documentary traverses a wide array of themes, with some segments resonating more strongly than others. For instance, the portrayal of pheasant shoots, while captivating for some viewers, seems less relevant when compared to the pressing concerns surrounding large-scale agribusiness, a topic that is not given substantial focus in the film. The concept of established footpaths, which have required persistent advocacy to secure, underscores the importance of maintaining pressure on these issues. Ultimately, the film conveys a compelling message: the mission to make the countryside and its natural beauty accessible to all is a cause worth championing.
Our Land will be released in cinemas across the UK and Ireland starting on May 8.
