My Uncle Tudor

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.

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.

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.

In what one could call Jonas Mekas’ first video blog, the Lithuanian avant-garde filmmaker reflects on his life and the art of cinema and representation.

An artificial summer rules the greenhouse. Workers tend to carnations. In a multitude of splendid colours, they grow towards the sun until they’re ready to fulfill their cut-flower destiny. Carnations is an audiovisual meditation on movements within a carnation nursery close to filmmaker Martijn van de Wiele’s home.

This is a cinematic letter to the title character, who left Tunisia and now lives in Belgium. Shot in the first year after the Tunisian revolution, this is a poetic journey through a troubled landscape. Between order and chaos, the film reveals a land of disillusionment but also of humour and hope.

In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice. Through this film, they highlight the reality of detention centres: the harsh conditions of confinement, the suffering of detainees and the abuse by guards and police officers.