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  • artifacts of you, artifacts of me.
artifacts of you, artifacts of me. (Brecht De Cock, 2023)
artifacts of you, artifacts of me. (Brecht De Cock, 2023)

    artifacts of you, artifacts of me.

    Brecht De Cock, Belgium, 2023, 9’

    How do you abstract the death of a loved one? What texture do you give it? What colour? Does it remain formless, or can you recognise what remains? After the loss of his father, LUCA alumnus Brecht De Cock sculpted a transmedial response to these impossible questions. After receiving a message urging him to come home as soon as possible, De Cock pulls out all the stops and crystallises immeasurable grief from a dark vacuum.

    A computer mouse scrolls over a negative image of a paramedic's scissors and first aid kit. A 3D rendering of a living room slowly but surely floods with undulating water. Digital threads, like those of a spider's web, intertwine and disintegrate. On the soundtrack, Ismaël Iken and Vince De Leenheer produce a shrill digital sound that creeps between your ears and under your clothes. De Cock does not give anything away on a silver platter, but the pain is palpable in everything.

    Flo Vanhorebeek

    Credits

    Script
    Brecht De Cock
    Camera
    Tuur Oosterlinck
    Music
    Ismaël Iken
    Sound editor
    Ismaël Iken
    Film school
    LUCA School of Arts, Sint-Lukas Brussel
    Producer
    Brecht De Cock
    517

    This film was part of yanco’s December 2025 calendar

    animation experimental

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    Paradise

    Laura Vandewynckel, Belgium, 2014, 6’

    People are heading for a better place on either side of the ocean. Although their paths do cross at times, they never really seem to meet. Paradise is a light-hearted yet critical reflection on the ethics of tourism.

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    Oh Willy...

    Emma De Swaef, Marc James Roels, Belgium, 2011, 17’

    A gentle, middle-aged man returns to the nudist colony he grew up in to visit his elderly mother. Her sudden death leaves Willy in a state of sadness. He soon finds himself lost in the midst of a savage wilderness, trying to find comfort.

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    Mamada Perdida

    Joke Van den hof, Belgium, 2016, 6’

    It is sometimes said that if a man places a pearl under the skin of his penis, he will bring the woman the greatest pleasure. He grants her the greatest of all pleasures, while she will give him anything he desires. After a playful love dance, she melts into him, at the cost of losing themselves in each other to arrive at their deepest desires.

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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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    À l’usage des vivants

    Pauline Fonsny, Belgium, 2019, 27’

    In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice. Through this film, they highlight the reality of detention centres: the harsh conditions of confinement, the suffering of detainees and the abuse by guards and police officers.

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    Working Knowledge of Ritual

    Hannan Jones, Australia, 2023, 4’

    By interweaving esoteric texts and images, Working Knowledge of Ritual underscores the interconnectedness of spirituality and nature. The film muses on our energies alongside the natural world, inspired by the writings of Leonard Jones.

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    The White Elephant

    Shuruq Harb, Palestine, 2018, 12’

    Using images shared on the Internet by Israelis during the Gulf War, the First Intifada, and trance music gatherings, Shuruq Harb paints the portrait of a Palestinian teenager in the 1990s. In the midst of Israeli pop culture and the political climate of the Oslo Accords, she comes to grips with her anxiety.

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    Yarokamena

    Andrés Jurado, Colombia, Portugal, 2022, 21’

    In 20th-century Colombia, resistance fighter Yarokamena, a member of the indigenous Uitoto tribe, called for rebellion against violent exploitation of the rubber mining industry in the Amazone and invoked the spiritual powers of war.

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