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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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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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I Don’t Feel At Home Anywhere Anymore

Viv Li, Belgium, China, 2020, 16’

A wistful but witty account of a trip to Beijing by filmmaker Viv Li, a Chinese art student who has been living abroad for ten years. Her stay with her family mercilessly exposes how uprooted she has become by her life abroad.

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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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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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The Jungle Knows You Better Than You Do

Juanita Onzaga, Belgium, Colombia, 2017, 20’

Two siblings roam the mystical landscapes of Colombia, searching for their dead father's spirit. Their journey takes them from the city of Bogotá to the jungle, through realms of thought and deep into their haunted dreams.

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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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0.2 Milligrams of Gold

Diego Quinderé de Carvalho, Belgium, Hungary, Portugal, 2021, 24’

Eight thousand five hundred kilometres lie between the Amazon and the Ardennes. In his home country of Brazil, filmmaker Diego looks at the inaccessible forest from the outside. Its Belgian counterpiece, however, is easier to explore.

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The Living Wardrobe

Martí Madaula Esquirol, Spain, USA, 2024, 18’

Martí arrives in Bilbao for an artistic residency. In his new room, his clothes occupy only a small portion of the enormous wardrobe. But when he meets someone, the wardrobe slowly begins to fill up. Where has the emptiness gone, the free space, the little corner that was his?

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