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  • 10th of November | 09:05
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  • Language no dialogue

part of
double bill #24

10th of November | 09:05

Els Opsomer, Belgium, Turkey, 2008, 14’

Every year on the 10th of November, at 09:05 in the morning, individuals across Turkey cease all activities. Cars pull over, and pedestrians stop and stand still, in remembrance of Mustafa Kemal Atatürk (founder and first president of the Republic of Turkey), who died on this day and time in 1938. This reverence for Atatürk, the charismatic leader who modernised and secularised Turkey after the fall of the Ottoman Empire, is an astonishing national phenomenon that reveals much about the ideological constructions that bind—some would say too tightly—the country together. 

Like much of her previous work, Els Opsomer’s film is informed by her experiences in the places she visits. It begins with photographic slides taken on site and added to her ongoing ‘Urban Archive’. Concerned with how we manoeuvre through what she considers an increasingly aggressive world, she often trains her gaze on urban phenomena that reveal the ways that we engage with our surroundings.

Tara Mc Dowell, Courtisane

Bio Els Opsomer

Els Opsomer lives and works in Brussels, Belgium, and Rufisque, Senegal. Her artwork stems from a constantly expanding archive of urban images [archive building] and is a reinterpretation of our globalised reality, exposing and challenging the notion of personal integrity within it. She participated in multiple international biennial exhibitions, was a resident at the Rijksakademie Amsterdam (1996-1998), and has received the awards Courtisane (2007) and the Jeune Peinture Belge (1997). Opsomer is now the head of the master’s in Photography at the LUCA School of Arts, Brussels.

10th of November | 09:05 (Els Opsomer, 2008)
10th of November | 09:05 (Els Opsomer, 2008)
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Who’s Still Standing?

Els Opsomer’s 10th of November | 09:05

Öykü Sofuoğlu
10.11.2025

Foreignness always operates in varying degrees and can easily be internalised as self-exoticisation or through voluntary and involuntary alienation. Nevertheless, watching a film about your home country through a foreign gaze is always a startling experience. The images appear uncannily alien, akin to a non-native speaking in your mother tongue: no matter how impeccable their linguistic knowledge and proficiency, their intonations inevitably inhabit an absence, turning familiar words into strange, peculiar objects.

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490
documentary politics history 16mm city symphony direct cinema

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A Letter to Mohamed

Christine Moderbacher, Belgium, Tunisia, Austria, 2013, 35’

This is a cinematic letter to the title character, who left Tunisia and now lives in Belgium. Shot in the first year after the Tunisian revolution, this is a poetic journey through a troubled landscape. Between order and chaos, the film reveals a land of disillusionment but also of humour and hope.

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The Motherfucker’s Birthday

Saif Alsaegh, Iraq, USA, 2024, 6’

Through dancing, The Motherfucker’s Birthday shows the evil of the dictator and the horror people endure under powerful political leaders. The film presents dancing, a universal and uniquely human activity often representing joy, with eerie footage of Saddam and his sons’ torture tools while they dance.

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Self-Portrait

Jonas Mekas, USA, 1980, 20’

In what one could call Jonas Mekas’ first video blog, the Lithuanian avant-garde filmmaker reflects on his life and the art of cinema and representation.

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Pirate Boys

Pol Merchan, Germany, 2018, 13’

Punk author Kathy Acker’s work is the starting point for a conversation about gender identity and body transformation and is linked to the punk movement of the 1970s and 1980s.

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The Migrating Image

Stefan Kruse Jørgensen, Denmark, 2018, 28’

Following a fictional group of refugees across Europe, the film questions the overproduction of images surrounding real-life tragedies and deaths.

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Mars, Oman

Vanessa del Campo, Belgium, 2019, 20’

Oman’s vast plains look so much like Mars that they are used as a training ground for astronauts. Two local girls gaze at the starry sky like curious scientists while the astronauts philosophise about living on the Red Planet.

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Cyclepaths

Anton Cla, Belgium, 2023, 12’

On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.

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what else grows on the palm of your hand?

Dhiaa Biya, Morocco, Belgium, 2023, 16’

The routines of two women fuse together over time. One is busy with her bread, the other with her memories. Their similar gestures, repeated again and again, slowly unfold the special bond that unites them.

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