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La Ricotta
La Ricotta (Pier Paolo Pasolini, 1963)

    La Ricotta

    Pier Paolo Pasolini, Italy, 1963, 34’

    In his contribution to the omnibus film RO.GO.PA.G (1963), Pier Paolo Pasolini depicts Orson Welles making a film about the crucifixion of Jesus, while he, the cast, and the crew behave quite unholy. La Ricotta is a short, apocalyptic tirade against the conventions of filmmaking and the unchristian coldness of contemporary Christianity.

    La Ricotta expresses disgust for the vulgarity of consumer society and rebukes the Catholic Church for abandoning the poorest members of society. In the film, Christ is a starving extra who gives his own lunch to his hungry family, loses another, stolen meal to the lapdog of a visiting movie star, and, after stuffing himself with ricotta cheese, dies of indigestion.

    Pasolini’s career was often silenced by lawsuits and scandals. His international fame made him a powerful contrarian in Italian politics and the art world. His films and writings were considered a real threat to the significant remnants of fascism in modern Italy. La Ricotta introduced an openly political message into his oeuvre. He was sentenced to several months in prison for contempt of religion, although the charges were later dropped.

    Bio Pier Paolo Pasolini

    Pier Paolo Pasolini was a poet, journalist, philosopher, linguist, novelist, playwright, filmmaker, newspaper and magazine columnist, actor, painter, and political figure. This extraordinary cultural versatility made him a highly controversial figure and one of the defining public intellectuals in 20th-century Italian history. Pasolini’s unsolved and extremely brutal abduction, torture, and murder at Ostia in November 1975 prompted an outcry in Italy, where it continues to be a matter of heated debate. He is known for directing The Gospel According to St. Matthew (1964), his ‘Trilogy of Life’—The Decameron (1971), The Canterbury Tales (1972), …
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    • This film was #37 in the “Greatest” Short Films of All Time 2025
      voted by Kornél Szilágyi, Claire Lasolle, Elspeth Vischer, Daniel Mattes, Joshua Simon, Roee Rosen, Joanna Baranowska
    fiction politics

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    Cyclepaths

    Anton Cla, Belgium, 2023, 12’

    On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.

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    D’un château l’autre

    Emmanuel Marre, Belgium, 2018, 40’

    Pierre, 25 years old and on a scholarship for a prestigious Parisian university, is lodged by Francine, who is 75, disabled, and confined to her wheelchair. Both puzzled and disoriented, they witness the French presidential elections of 2017 play out.

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    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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    Atopia

    Olivier De Vos, Belgium, 2021, 18’

    An introspective essay about the search for a place between reality and imagination: a placeless place made up out of dreams and a longing for fluidity. Slowly, the grains of the compressed image become the sands of the atopic beach, revealing an imaginary place.

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    what else grows on the palm of your hand?

    Dhiaa Biya, Morocco, Belgium, 2023, 16’

    The routines of two women fuse together over time. One is busy with her bread, the other with her memories. Their similar gestures, repeated again and again, slowly unfold the special bond that unites them.

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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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    I Am Good At Karate

    Jess Dadds, United Kingdom, 2021, 11’

    Portrait of a young teenager with mental health issues who is passionate about karate. They wander around a housing estate in East Kent, locked in verbal and physical battles with a hallucinatory demon.

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    This Day Won’t Last

    Mouaad el Salem, Belgium, Tunisia, 2020, 25’

    In this urgent diary film about longing for freedom and community, the filmmaker reflects on the individual yet collective experience of growing up queer in Tunisia today.

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