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Grandmamauntsistercat
Grandmamauntsistercat (Zuza Banasińska, 2024)

    Grandmamauntsistercat

    Zuza Banasińska, Poland, The Netherlands, 2024, 23’

    The classic Slavic witch Baba Jaga is reimagined as a “prehistoric goddess from the times of the matriarchy” using found footage from the Polish Educational Film Studio archive. This transformation incites layered reflections on kinship and identity, guided by a child grappling with binary gender roles. 

    The often sexist and anthropocentric images, created as didactic materials in the communist era, are repurposed into an emotive portrait of a multispecies matriarchal family seeking freedom and empowerment.

    Leonie Woodfin (IFFR)

    Bio Zuza Banasińska

    Audiovisual artist Zuza Banasińska (1994) studied at the Academy of Fine Arts in Kraków, Universität der Künste in Berlin, and Sandberg Instituut in Amsterdam. Their practice concentrates on the creation of video-based environments in which virtual and real elements are hybridised beyond distinction, resulting in an affective mapping. Their artistic projects have been displayed at U-Jazdowski CCA in Warsaw, Dům Umění Mesta Brna in the Czech Republic, and Blindside in Melbourne. 
    424
    • This film was #78 in the “Greatest” Short Films of All Time 2025
      voted by Afsun Moshiry, David Bakum, Heleen Gerritsen, Anne Turek
    essay experimental portrait queer found footage

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    Old Child

    Elettra Bisogno, Hazem Alqaddi, Belgium, Palestine, 2019, 16’

    Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

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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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    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 Stopover

    Collectif Faire-part, Belgium, DR Congo, 2022, 14’

    Filmmakers Paul Shemisi and Nizar Saleh embark on a journey from the Democratic Republic of Congo to Germany to screen their latest film. However, during a layover in Angola, their trip takes a harrowing turn when airport authorities question the authenticity of their documents.

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