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part of
double bill #32

Paradise

Het Paradijs
Laura Vandewynckel, Belgium, 2014, 6’
La Cinef - Festival de Cannes

2015

TIFF

2015

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.

Bio Laura Vandewynckel

Laura Vandewynckel (1986, Belgium) graduated as a Philologist at Ghent University. She studied Dramatic Arts for three years and animation film at the RITCS School of Arts in Brussels. In her work, animation techniques, documentary film, and theatre intertwine. She graduated with Paradise in 2014, which was selected for the student competition in Cannes and TIFF. She also made the hybrid documentary Pharmakos (2017) and 3D-animated Le Crépuscule (2023). Currently, she is conducting doctoral research at Vrije Universiteit Brussel and RITCS, investigating the potential of automata (puppets, robots, and kinetic sculptures) as social game changers. 

Paradise (Laura Vandewynckel, 2014)
Paradise (Laura Vandewynckel, 2014)
essay
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Impassable Gates

Laura Vandewynckel’s Paradise (2014)

Najrin Islam
13.06.2026

In five minutes, Paradise scans what determines movement for racially distinct peoples. Borders seek to contain, and any transgressions are preemptively curbed through restrictive legislation or bureaucratic rigmarole. As architect and researcher Shahram Khosravi and Mahmoud Keshavarz point out in their article, “The Magic of Borders”, border fortifications—materialised through visa protocols, military operations, or propaganda media—facilitate mobility for the white traveller as much as they restrict it for racialised refugees.

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Credits

Script
Laura Vandewynckel
Cast
Jerom Sturm, Liesje De Backer, Nico Sturm, Rocky Sturm, Thomas Bellinck
Music
Lode Wellens, Pedro Van der Eecken
Film school
RITCS School of Arts
506

This film is part of yanco’s streaming library

animation politics satire

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Love Goes Through The Stomach

NEOZOON, Germany, 2017, 15’

Dedicated to nutrition and the human attitude towards “production animals”, this YouTube-found footage collage provides disturbing insights into the behaviour of a Western affluent society towards animal products.

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The White Elephant

Shuruq Harb, Palestine, 2018, 12’

Using images shared on the Internet by Israelis during the Gulf War, the First Intifada, and trance music gatherings, Shuruq Harb paints the portrait of a Palestinian teenager in the 1990s. In the midst of Israeli pop culture and the political climate of the Oslo Accords, she comes to grips with her anxiety.

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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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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 Motherfucker’s Birthday

Saif Alsaegh, Iraq, USA, 2024, 6’

Through dancing, The Motherfucker’s Birthday shows the evil of the dictator and the horror people endure under powerful political leaders. The film presents dancing, a universal and uniquely human activity often representing joy, with eerie footage of Saddam and his sons’ torture tools while they dance.

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Yarokamena

Andrés Jurado, Colombia, Portugal, 2022, 21’

In 20th-century Colombia, resistance fighter Yarokamena, a member of the indigenous Uitoto tribe, called for rebellion against violent exploitation of the rubber mining industry in the Amazone and invoked the spiritual powers of war.

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A Letter to Mohamed

Christine Moderbacher, Belgium, Tunisia, Austria, 2013, 35’

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.

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On Its Way Down

Sebastian Schaevers, Belgium, 2022, 22’

Zinal, a small town in the Swiss Alps, looks straight up toward the melting glaciers of the Couronne Impériale. The townspeople struggle with nihilistic indifference. When the threat is so immediate, and their powerlessness so great, can their response be anything other than cynicism? Then a paraglider falls mysteriously from the sky, and Zinal starts to change.

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