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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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    she asked me where i was from

    Aulona Fetahaj, Belgium, Kosovo, 2020, 24’

    Drawing on digital memories and using online tools such as Google Maps, Aulona Fetahaj reflects on how it feels to be the child of refugees in the digital age.

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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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    The Migrating Image

    Stefan Kruse Jørgensen, Denmark, 2018, 28’

    Following a fictional group of refugees across Europe, the film questions the overproduction of images surrounding real-life tragedies and deaths.

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    The Room

    Chantal Akerman, Belgium, 1972, 11’

    Panning shots in a repeating full-circle movement show a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. There is the presence of a young woman: filmmaker Chantal Akerman herself, sitting on the bed eating an apple.

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    Water and Salt

    Luisa Mello, Belgium, Brazil, 2019, 10’

    A journey through the consciousness of a woman whose country is under threat from a fascist government.

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    Copa-Loca

    Christos Massalas, Greece, 2017, 14’

    This is the story of Copa-Loca. Paulina is the girl at the heart of this abandoned Greek summer resort. Everyone cares for her and she cares about everyone – in every possible way.

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    All We Ever Wanted Was Everything

    Enzo Smits, Belgium, 2014, 19’

    A portrait of young skateboarders growing up in a Flemish suburban town. We meet different characters going through their daily routines: riding around on their skateboards, waiting, hanging out, daydreaming...

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    Devotion

    Cynthia Madansky, Turkey, 2003, 34’

    A sparing and minimal travelogue of Istanbul. A foreigner meditates on the unraveling of a relationship while moving from hotel room to hotel room. In a city simultaneously devoted to Islam and secular nationalism, she finds refuge in the frailty and severity of rituals.

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