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Illusions
Illusions (Julie Dash, 1982)

    Illusions

    Julie Dash, USA, 1982, 34’

    Mignon Duprée, an African American female studio executive who appears to be white, and Ester Jeeter, an African American woman who is the singing voice for a white Hollywood star, are forced to come to grips with a society that perpetuates false images as the status quo. 

    Julie Dash’s drama follows Mignon’s dilemma, Ester's struggle, and the instrumentalisation of Hollywood during wartime: three forms of illusion in conflict with reality. Illusions is a gripping critique of cinema’s power to shape perception, exploring the myth of racial identity. 

    Bio Julie Dash

    American writer and film director Julie Dash (1952) is one of the UCLA Film graduates known as the L.A. Rebellion: the first African-American and African students at UCLA. Her 1991 feature Daughters of the Dust was the first full-length film directed by an African-American woman to obtain general theatrical release in the United States and was named one of the most significant films of the last 30 years by IndieWire. Dash has worked in television since the late 1990s, with films such as Funny Valentines (1999), Incognito (1999), Love Song (2000), and The Rosa Parks Story (2002). 

    Dash consciously punctuates the film’s racial dichotomies with brilliant visual communications of the hierarchical structures. A static shot at the doorway of a studio set, Esther—darker and smaller—looks up at Dupree, who has been successfully assimilated into Hollywood culture, both in the way she looks and the way she acts. Another sequence, more visually surreal, shows the recording studio with the disjointed visages of Esther, the sound designer, and a screen displaying the movie being voiced over. These are the simple ingredients of the Hollywood illusion—the devious hiding of Black talent behind the presentation of white stardom through the mechanisms of sounds and edits.

    Soham Gadre, Screen Slate
    La Jetée
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    02.02.2026

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    On a hot summer day, five teenagers go to a river to cool off. They swim, they sleep, they eat snacks and ice cream. As music and dialogue are missing, everyday sounds attract attention: bicycles riding on gravel, feet gliding through water, gasps and splutters.

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    Sebastian Schaevers, Belgium, 2022, 22’

    Zinal, a small town in the Swiss Alps, looks straight up toward the melting glaciers of the Couronne Impériale. The townspeople struggle with nihilistic indifference. When the threat is so immediate, and their powerlessness so great, can their response be anything other than cynicism? Then a paraglider falls mysteriously from the sky, and Zinal starts to change.

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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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    Lee Kyeong-won, South Korea, 2021, 28’

    After going missing, a woman is unable to remember her past until her former husband pays her a visit and she recalls a memory of where she lived with the man a long time ago.

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    Jess Dadds, United Kingdom, 2021, 11’

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    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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