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The Girl Chewing Gum
The Girl Chewing Gum (John Smith, 1976)

    The Girl Chewing Gum

    John Smith, United Kingdom, 1976, 12’

    In The Girl Chewing Gum, an authoritative voice-over pre-empts the events occurring in the image, seeming to order not only the people, cars, and moving objects within the screen but also the actual camera movements operated on the street in view. In relinquishing the more subtle use of voice-over in television documentary, the film draws attention to the control and directional function of that practice: imposing, judging, and creating an imaginary scene from a visual trace. 

    This “Big Brother” is not only looking at you but also ordering you about as the viewer’s identification shifts from the people in the street to the camera eye overlooking the scene. The resultant voyeurism takes on an uncanny aspect as the blandness of the scene contrasts with the near ‘magical’ control of the voice. The most surprising effect is the ease with which representation and description turn into phantasm through the determining power of language.

    Michael Maziere, Undercut

    Bio John Smith

    John Smith (UK, 1952) studied film at the Royal College of Art. Inspired by conceptual art and structural film, but also fascinated by the immersive power of narrative and the spoken word, he has developed a body of work that deftly subverts the boundaries between documentary, fiction, representation, and abstraction. Often rooted in everyday life, his meticulously crafted films, such as The Girl Chewing Gum (1976), Blight (1996), and The Black Tower (1987), playfully explore and expose the language of cinema. Smith’s work has been widely shown in independent cinemas, film festivals, and art galleries around the world and has been awarded many major prizes. (Light Cone)

    The Girl Chewing Gum (1976)
    The Girl Chewing Gum (1976)
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    Als beelden sprekend liegen

    John Smiths The Girl Chewing Gum (1976)

    Bjorn Gabriels
    31.03.2026

    Op het eerste gezicht bevestigt The Girl Chewing Gum (1975) – Smiths beroemdste film in een oeuvre van vijftig jaar experimentele korte films waarin hij op speelse wijze het dagelijks leven verkent – de bijna rituele afwijzing van de voice-over door het opzichtig autoritaire karakter ervan te ondermijnen met hilarisch ingetogen humor, die doet denken aan de observerende ironie van Monty Python’s Flying Circus (1969-1974).

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    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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    429
    • This film was #7 in the “Greatest” Short Films of All Time 2025
      voted by Lina Paulsen, Flavia Dima, Amarsanaa Battulga, Kevin B Lee, Julian Ross, Anouk De Clercq, Pedro Gonçalves Ribeiro, Catarina Mourao, Veton Nurkollari, Libertad Gills, Ben Nicholson, Anna Feistel, Koyo Yamashita, Gerald Weber, Roee Rosen, lau persijn, Christoffer Ode, Deborah Stratman, Tony Hill, Gunter Deller
    experimental humour

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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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    Scum Mutation

    Ov, France, 2020, 10’

    In this cyberpunk animation, four creatures wobble like marionettes in a black void. An alien power tries to subdue them; police voices strike as if they were truncheons, but these vulnerable bodies start to fight back.

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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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    Snow Edge

    Juan Francisco Rodríguez, Colombia, 2021, 15’

    The thaw of the so-called eternal snow of Páramo, a neotropical alpine ecosystem in the high Andes, exposes a layer of meaning about the origins and survival of the landscape.

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    Downside Up

    Tony Hill, United Kingdom, 1984, 18’

    With a single camera movement, this film explores humankind’s relationship to the ground. The viewpoint continuously changes. Places, objects, people, and events come in and out of focus. These observations gradually speed up and reveal a double-sided ground, flipping like a tossed coin, which then slows again to oscillate around the Earth’s edge.

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    The Motherfucker’s Birthday

    Saif Alsaegh, Iraq, USA, 2024, 6’

    Through dancing, The Motherfucker’s Birthday shows the evil of the dictator and the horror people endure under powerful political leaders. The film presents dancing, a universal and uniquely human activity often representing joy, with eerie footage of Saddam and his sons’ torture tools while they dance.

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    Un Chien Andalou

    Luis Buñuel, France, 1929, 21’

    Spanish surrealist Luis Buñuel wrote his first feat together with Salvador Dalí, based on their dreams. Don’t get stuck on the plot. Buñuel deliberately omits chronology and opts for Freudian dream logic, in which scenes do not necessarily follow one another logically.

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    she asked me where i was from

    Aulona Fetahaj, Belgium, Kosovo, 2020, 24’

    Drawing on digital memories and using online tools such as Google Maps, Aulona Fetahaj reflects on how it feels to be the child of refugees in the digital age.

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