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Mobile Men
Mobile Men (Apichatpong Weerasethakul, 2008)

    Mobile Men

    Apichatpong Weerasethakul, Thailand, 2008, 4’

    Two young men in a pickup truck, from different parts of the world, discover each other through the use of a camera. In a windy atmosphere, they initially film close-ups of their bodies, then, little by little, their full figures. As the camera lenses change, a landscape of rice fields and a cinema crew get into the frame. The camera then reshoots the road and the men, as if we were witnessing a film rehearsal.  

    One of the characters has tattoos covering his entire body. He lifts his shirt and tears off a wired microphone taped to his chest. He then pastes it on the tattoo and cries out from the top of his lungs. The microphone picks up the heavy wind noise, and the camera moves to capture his face. He looks directly at the lens and smiles. 

    Bio Apichatpong Weerasethakul

    Filmmaker and visual artist Apichatpong Weerasethakul (Bangkok, 1970) began making films and video shorts in 1994. Celebrated around the world for his tranquil and lyrical works, he received the Cannes Jury Prize in 2021 for Memoria and also won the Palme d’Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. 
    426
    • This film was #62 in the “Greatest” Short Films of All Time 2025
      voted by Niels Putman, Dora Leu, Lin Htet Aung, Daniel Mattes, Emerson Goo
    experimental documentary fiction

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    Ours is a Country of Words

    Mathijs Poppe, Belgium, Lebanon, 2017, 42’

    Filmed in Shatila, a refugee camp built in Lebanon when thousands of Palestinians fled their country in 1948. At an undetermined moment in the future, the refugees’ dream of returning to Palestine becomes a reality.

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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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