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  • The Migrating Image
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part of
double bill #3

The Migrating Image

Stefan Kruse Jørgensen, Denmark, 2018, 28’
Visions du Réel

2018

Courtisane

2019

25FPS Int’l Experimental Film and Video Festival

Audience Award 2018

By following a fictional group of refugees across Europe, the film questions the overproduction of images surrounding real-life tragedies and deaths. Each segment of the project takes its cue from the destination of the refugees, from the Mediterranean Sea to being stuck in a warehouse somewhere in Belgrade. Where do all these images about refugees come from? How do they reshape the geography of Europe?

Giona A. Nazzaro, Visions du Réel

Bio Stefan Kruse Jørgensen

Stefan Kruse (Denmark, 1987) is a filmmaker and visual artist with a background in graphic design. In July 2017, he graduated from The Royal Danish Academy of Fine Arts School of Design. In his work, he investigates the relationship between humankind and its images.

Within the raw and cold analysis of images in this 28-minute-long film, without being overly didactic, Stefan Kruse Jørgensen shows how artificial images can easily take the form of any function and purpose. By leaving out music and focusing strictly on found footage, The Migrating Image immerses us in the complex visual culture of a new media world. Jørgensen questions the possibility of a true depiction of “the migrant” because individuality easily blurs and blends into an amalgam, like a huge wave floating over European shores. Dehumanizing pictures of thousands of migrants are tangled up with exalting videos of Italian saviors. This raises difficult questions about the power of film as a medium and the dark and manipulative side of image production. While the film investigates the origin and meaning of its images, we are left alone on the slippery road to find the truth in them.

Aleksandra Ławska
33
essay documentary politics history

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Magic, a portrait of Joris

Chloë Delanghe, Belgium, 2018, 15’

In Magic, a portrait of Joris, images sourced from different periods in time are glued together. Worn-out VHS footage filmed by the artist’s father is placed beside 8mm images she filmed herself. Both have the same subject: one boy, both a son and a brother. Connecting images of then and now, a new narrative of remembering opens up.

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Before Then

Mengzhu Xue, China, Germany, 2024, 30’

Every form of communication involves deciphering codes. In Before Then, Mengzhu Xue attempts to confess a secret in the form of a letter in English, which she writes out phonetically in Chinese, and asks her grandmother to read out loud.

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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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Trains de plaisir

Henri Storck, Belgium, 1930, 8’

The beach and its sunbathers. A series of sketches, small moments that culminate in a wry, loving portrait of a Sunday at the beach.

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Loveboard

Felipe Casanova, Belgium, Switzerland, 2023, 17’

A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.

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Workers Leaving the Lumière Factory

Louis Lumière, France, 1895, 1’

A man opens the large gate of the Lumière factory in Lyon, France, in 1895. Through the gate and a smaller door next to it, workers stream out for lunch. Once all the workers have left the factory, the gatekeeper closes the gate again.

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Because We Are Visual

Gerard-Jan Claes, Olivia Rochette, Belgium, 2010, 47’

By means of visual material gathered from online sources, filmmakers Olivia Rochette and Gerard-Jan Claes create a unique poetic realm in which thoughts, fears, desires, and worries are shared via webcam, and merge together.

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Paradise

Laura Vandewynckel, Belgium, 2014, 6’

People are heading for a better place on either side of the ocean. Although their paths do cross at times, they never really seem to meet. Paradise is a light-hearted yet critical reflection on the ethics of tourism.

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