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Free Radicals
Free Radicals (Len Lye, 1958)

    Free Radicals

    Len Lye, New Zealand, USA, 1958, 5’

    In what is widely considered his greatest film, Len Lye reduces cinema to its most basic elements by scratching designs onto black and white film, using a variety of means ranging from dental tools to an ancient Native American arrowhead. He then synchronised this primitive kinetic dance of white lines and angles to a field tape of the Bagirmi tribe. The title references modern physics: ‘free radicals’ are particles of energy.

    Free Radicals won the second prize at the International Experimental Film Competition at the 1958 World’s Fair in Brussels, which was judged by Man Ray, Alexander Alexeiff, and Norman McLaren. Stan Brakhage once described the film as “an almost unbelievably immense masterpiece, a brief epic.”

    Bio Len Lye

    Len Lye (New Zealand, 1901) was an internationally renowned filmmaker, sculptor, painter, photographer, and poet. In the course of his career, Lye was part of many artist groups, including the 7&5 Society of the 1920s, the surrealist movement of the 1930s, the New York School of the 1940s and 50s, and the avant-garde kinetic art movement during the 1950s and 60s. Free Radicals is widely considered one of his best films. 

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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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    399
    • This film was #78 in the “Greatest” Short Films of All Time 2025
      voted by Niels Putman, Anouk De Clercq, Blake Williams, Bart Versteirt
    animation experimental avant-garde

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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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    Swollen Stigma

    Sarah Pucill, United Kingdom, 1998, 21’

    Swollen Stigma is a visual, surrealistic narrative about a woman travelling both literally and psychically through several rooms. Memories, or fantasies, of another woman, fill her imagination. The film proposes lesbian imagery, and its shifting points of view jump between the protagonist, fantasy spaces, and her lover, making an internal world leak into what is external.

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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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    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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    Expires in 29 days
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    Women I Love

    Barbara Hammer, USA, 1976, 23’

    A series of cameo portraits of Barbara Hammer’s friends and lovers intercut with a playful celebration of fruits and vegetables in nature. The culminating footage evokes a tantric painting of sustained sexuality.

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    Sirens

    Raoul Servais, Belgium, 1968, 9’

    A lonesome angler becomes witness to an eccentric idyll between a cabin boy and a mermaid. Dream or reality?

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    Language of the Entrails

    Luciana Decker Orozco, Bolivia, USA, 2025, 12’

    A journey to the underworld begins within our own entrails. This film explores the intimate rhythm of digestion only to next investigate the becoming of geological eras, inspired by Gamaliel Churata’s El Pez de Oro, in which he states, “we all carry the dead alive; that the dead live.”

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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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