2026

Maha Maamoun, Egypt, 2010, 9’

A time traveller recounts his vision of a post-revolution Egypt in the year 2026, an image of the future stuck in a hopeless repetition of the present. Based on a text from the Egyptian novel The Revolution of 2053 and a scene from Chris Marker’s La Jetée. In an instance of eerie foreboding, this film was made just one year before the actual Egyptian revolution of 2011, in which then-president Hosni Mubarak was overthrown.

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she asked me where i was from

Aulona Fetahaj, Belgium, Kosovo, 2020, 24’

Drawing on digital memories and using online tools such as Google Maps, Aulona Fetahaj reflects on how it feels to be the child of refugees in the digital age.

Devotion

Cynthia Madansky, Turkey, 2003, 34’

A sparing and minimal travelogue of Istanbul. A foreigner meditates on the unraveling of a relationship while moving from hotel room to hotel room. In a city simultaneously devoted to Islam and secular nationalism, she finds refuge in the frailty and severity of rituals.

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.

Sylvia Kristel – Paris

Manon de Boer, Belgium, 2003, 39’

Sylvia Kristel – Paris is a portrait of Sylvia Kristel, best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography.

Meander

Joke Liberge, Belgium, 2005, 15’

On a hot summer day, five teenagers go to a river to cool off. They swim, they sleep, they eat snacks and ice cream. As music and dialogue are missing, everyday sounds attract attention: bicycles riding on gravel, feet gliding through water, gasps and splutters.

0.2 Milligrams of Gold

Diego Quinderé de Carvalho, Belgium, Hungary, Portugal, 2021, 24’

Eight thousand five hundred kilometres lie between the Amazon and the Ardennes. In his home country of Brazil, filmmaker Diego looks at the inaccessible forest from the outside. Its Belgian counterpiece, however, is easier to explore.

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.

Water and Salt

Luisa Mello, Belgium, Brazil, 2019, 10’

A journey through the consciousness of a woman whose country is under threat from a fascist government.

part of South-South Futurisms