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Blue
Blue (Apichatpong Weerasethakul, 2018)

    Blue

    ตะวันดับ
    Apichatpong Weerasethakul, France, 2018, 12’

    In the hushed, somnolent, yet unsettling Blue, Thai master Apichatpong Weerasethakul and frequent collaborator Jenjira Pongpas Widner present a choreographed dance of scrolls and a portrait of feverish slumber. A woman lies awake at night. Nearby, a set of theatre backdrops unspools itself, unveiling two alternate landscapes. Upon the woman’s blue sheet, a flicker of light reflects and illuminates her realm of insomnia.

    Bio Apichatpong Weerasethakul

    Filmmaker and visual artist Apichatpong Weerasethakul (Bangkok, 1970) began making films and video shorts in 1994. Celebrated around the world for his tranquil and lyrical works, he received the Cannes Jury Prize in 2021 for Memoria and also won the Palme d’Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. 

    La Jetée
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    “Greatest” Short Films of All Time 2025

    02.02.2026

    As a collective love letter to the art of short-form moving image, yanco and Kurzfilm Festival Hamburg, together with Talking Shorts, invited filmmakers, curators, critics, and scholars worldwide to participate in a first-ever poll of its kind. Invitees were asked to nominate ten audiovisual works under sixty minutes that they personally consider the “greatest” of all time. Through this non-academic approach to canon-building, this has led to an inspiring list of 105 titles.

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    402
    • This film was #78 in the “Greatest” Short Films of All Time 2025
      voted by Rubén Corral Giménez, Lin Htet Aung, Alicia Abieyuwa Bergamelli, Michiel Philippaerts
    experimental fantasy poetry

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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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    Atopia

    Olivier De Vos, Belgium, 2021, 18’

    An introspective essay about the search for a place between reality and imagination: a placeless place made up out of dreams and a longing for fluidity. Slowly, the grains of the compressed image become the sands of the atopic beach, revealing an imaginary place.

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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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    The Age of Anxiety

    Taiki Sakpisit, Thailand, 2013, 14’

    An audiovisual meditation on the fin de siècle in Thailand.

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    Blow Up My Town

    Chantal Akerman, Belgium, 1968, 13’

    A young woman, played by Chantal Akerman herself, enters her flat in Brussels and begins a household routine that gradually degenerates. Parodying the everyday, she mops the floor, polishes her shoes, and sticks tape over the cracks in the door, thereby giving domestic life an explosive twist.

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    Red Giant

    Anne Verbeure, Belgium, 2021, 11’

    Day and night, a giant sits on a hill, far away from his smaller fellow man. He fills his days organising things and making sure everything is in the right place at the right time.

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    Following the Object to Its Logical Beginning

    Lynne Sachs, USA, 1987, 7’

    Like an animal in one of Eadweard Muybridge’s scientific photo experiments, five undramatic moments in a man’s life are observed by a woman. A study in visual obsession and a twist on the notion of the “gaze”.

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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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