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  • This Day Won’t Last
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  • Language Arabic
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This Day Won’t Last

Mouaad el Salem, Belgium, Tunisia, 2020, 25’
New York Film Festival

2020

Berwick Film and Media Arts Festival

2020

Courtisane

2021

Kurzfilm Festival Hamburg

2021

In this urgent diary film about longing for freedom and community, the filmmaker reflects on the individual yet collective experience of growing up queer in Tunisia today. Through personal videos and photographs, the film draws attention to the still-existing Article 230 brought by the French colonisers to criminalise homosexuality.

This Day Won’t Last (Mouaad el Salem, 2020)
This Day Won’t Last (Mouaad el Salem, 2020)
essay
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“Queers Were Here”

Mouaad el Salem’s This Day Won’t Last (2020)

Sanne Jehoul
22.04.2024

This Day Won’t Last carries risk in every shot; through el Salem’s urgency to film, his constraints of what he can film, the aesthetics of lo-fi phone footage, and the images captured on cheap disposable cameras. Even if the undeveloped film can contain desires and identities without danger, even if these clips do not contain immediate reveals, the images we receive are still constrained and chased by fears and threats. However, they are also an assertion of identity and belonging.

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Credits

Camera
Mouaad el Salem
Sound
David Chaloiti
Music
Huda Asfour
Producer
Mouaad el Salem, Nour Al Amal
167
documentary politics portrait queer

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Trajectory Drift

Iván Castiñeiras Gallego, France, United Kingdom, 2018, 24’

In a container, sitting between crates of merchandise, two men talk about their exile. Their stories about the crossing of endless borders come together in a common dream: to reach England.

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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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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.

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Trains de plaisir

Henri Storck, Belgium, 1930, 8’

The beach and its sunbathers. A series of sketches, small moments that culminate in a wry, loving portrait of a Sunday at the beach.

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Workers Leaving the Lumière Factory

Louis Lumière, France, 1895, 1’

A man opens the large gate of the Lumière factory in Lyon, France, in 1895. Through the gate and a smaller door next to it, workers stream out for lunch. Once all the workers have left the factory, the gatekeeper closes the gate again.

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I Am Good At Karate

Jess Dadds, United Kingdom, 2021, 11’

Portrait of a young teenager with mental health issues who is passionate about karate. They wander around a housing estate in East Kent, locked in verbal and physical battles with a hallucinatory demon.

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3723 km As the Crow Flies

Oksana Luyssen, Ysé Auguste-Dormeuil, Belgium, 2024, 15’

Obtaining official documents is a symbol of coveted freedom and security for migrants. But how do you navigate the administrative labyrinth? This film explores the relationship between identity, race, and European bureaucracy.

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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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