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A Camel
A Camel (Ibrahim Shaddad, 1981)

    A Camel

    جمل‎
    Ibrahim Shaddad, Sudan, 1981, 14’

    Life is no cakewalk for the star of this film: an Arabian camel. He spends hours walking in circles in a dark and stifling sesame mill. When at last he has a break and gets the chance to rest his neck, goats and chickens walk over his fatigued body—they’re playful, but no less irritating for that. What can he do but dream of a different kind of life?

    Director Ibrahim Shaddad graduated in 1964 from the film academy in Potsdam, Germany. Artistic freedom in his homeland of Sudan was limited by the dictatorship, which meant film culture was almost non-existent. He became one of the founders of the Sudanese Film Group, which used activism and humor to inject new life into cinema in his country.

    As a viewer, you can choose to draw a parallel between the emotional life of the captive camel, dreaming of freedom, and that of the filmmakers who are trapped by censorship. Shaddad’s interplay of light and sound makes the suffering of this majestic animal all the more palpable, while also allowing for moments of humor.

    IDFA

    Bio Ibrahim Shaddad

    Ibrahim Shaddad (Sudan, 1945) studied filmmaking at the Filmuniversität Babelsberg Konrad Wolf. Over the course of his career, he has made many short- and medium-length films, among them Hunting Party (1964), A Camel (1981), and The Rope (1984). Several of his projects have been banned by the Sudanese government. He spent years in exile in Egypt and Canada before returning to Sudan. There, he was involved in founding the Sudanese Film Group, which revitalised cinema in their homeland through humour and activism.

    La Jetée
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    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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    Dedicated to nutrition and the human attitude towards “production animals”, this YouTube-found footage collage provides disturbing insights into the behaviour of a Western affluent society towards animal products.

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    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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    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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