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  • elephantfish
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part of
double bill #1

elephantfish

Meltse Van Coillie, Belgium, 2018, 27’
VAF Wildcard Filmlab

2018

A ship drifts in the middle of an endless sea. Aboard is a crew of five: three Dutchmen and two Filipino sailors. They all cope with boredom—some by trying to overpower it; others by escaping into a parallel world guided by dreams. elephantfish lures its viewers into an enclosed environment guarded by the freedom of the everlasting horizon. The only escape from this confinement comes in thoughts and dreams.

elephantfish (Meltse Van Coillie, 2018)
elephantfish (Meltse Van Coillie, 2018)
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Dreaming Adrift

Meltse Van Coillie’s elephantfish

Mariana Hristova
01.10.2022
essay

Darkness can be mysterious and scary but also mind-provoking and triggering for one’s fantasy. elephantfish, a film as unusual as its title, starts by describing an equally peculiar dream narrated by a quiet voice in the background of the black frame: an elephant in the sea greedily drinks the water as if trying to swallow it all. As the dreamer approaches the monster, it gets smaller and smaller, no bigger than a fish. Instead of turning into a Leviathan1 as the quasi-mythological premise of the tale suggests, it eventually dies, and the film itself unfolds in a hardly expected way.

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Credits

Script
Meltse Van Coillie
Camera
Harm Dens
Sound
Michel Coquette
Film school
KASK School of Arts
Producer
Meltse Van Coillie
26
experimental documentary mystery poetry

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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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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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The Room

Chantal Akerman, Belgium, 1972, 11’

Panning shots in a repeating full-circle movement show a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. There is the presence of a young woman: filmmaker Chantal Akerman herself, sitting on the bed eating an apple.

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Akaboum

Manon Vila, France, 2019, 30’

A portrait of contemporary suburban youth seeking to invent new contours of collective identity, against the backdrop of France in the throes of recession.

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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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All We Ever Wanted Was Everything

Enzo Smits, Belgium, 2014, 19’

A portrait of young skateboarders growing up in a Flemish suburban town. We meet different characters going through their daily routines: riding around on their skateboards, waiting, hanging out, daydreaming...

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Love Goes Through The Stomach

NEOZOON, Germany, 2017, 15’

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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À l’usage des vivants

Pauline Fonsny, Belgium, 2019, 28’

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.

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