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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)
essay
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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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The Living Wardrobe

Martí Madaula Esquirol, Spain, USA, 2024, 18’

Martí arrives in Bilbao for an artistic residency. In his new room, his clothes occupy only a small portion of the enormous wardrobe. But when he meets someone, the wardrobe slowly begins to fill up. Where has the emptiness gone, the free space, the little corner that was his?

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Loveboard

Felipe Casanova, Belgium, Switzerland, 2023, 17’

A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.

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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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D’un château l’autre

Emmanuel Marre, Belgium, 2018, 40’

Pierre, 25 years old and on a scholarship for a prestigious Parisian university, is lodged by Francine, who is 75, disabled, and confined to her wheelchair. Both puzzled and disoriented, they witness the French presidential elections of 2017 play out.

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Herman@s (Les Adelphes)

Hélène Alix Mourrier, France, 2021, 29’

Mexico, October 2011. A mysterious dream gives birth to Cuco, a transgender latex pirate activist. This essayistic film follows their quest to create more recognition for the queer community.

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Magic, a portrait of Joris

Chloë Delanghe, Belgium, 2018, 15’

In Magic, a portrait of Joris, images sourced from different periods in time are glued together. Worn-out VHS footage filmed by the artist’s father is placed beside 8mm images she filmed herself. Both have the same subject: one boy, both a son and a brother. Connecting images of then and now, a new narrative of remembering opens up.

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Note on Multitude

Ibro Hasanović, Belgium, Kosovo, 2015, 8’

Intimate, emotional, and sometimes violent moments of farewell: men, women, and children leave their homes for an (unknown) future as migrants.

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Akaboum

Manon Vila, France, 2019, 30’

A portrait of contemporary suburban youth seeking to invent new contours of collective identity, against the backdrop of France in the throes of recession.

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