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Phantom Limb (Jay Rosenblatt, 2005)
Phantom Limb (Jay Rosenblatt, 2005)

    Phantom Limb

    Jay Rosenblatt, USA, 2005, 28’

    In twelve short chapters, filmmaker Jay Rosenblatt reflects on the loss of his younger brother in 1964. Eliot Mitchell Rosenblatt was barely seven years old and ill for two years. Jay, two years his senior, felt guilty after Eliot’s death but couldn’t express his feelings. Nobody in the family discussed the subject. 

    The twelve chapters are introduced as in a silent movie. The inserted titles refer to the different stages of mourning the filmmaker experienced. He uses titles like separation, collapse, grief, denial, confusion, shock, communication and comeback. For each episode, Rosenblatt rummaged through film archives for associative footage, mainly in black-and-white. “Collapse” is illustrated by images of buildings that are demolished with dynamite. In “Shock”, a scientist describes the reaction of two rats in a cage who are administered a shock. In “Loss”, a man explains how you can still feel your arm, even if it was amputated a long time ago. This phenomenon is called phantom limb pain.

    IDFA
    536

    This film was part of yanco’s October 2026 calendar

    essay experimental documentary coming-of-age portrait found footage

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    Herman@s (Les Adelphes)

    Hélène Alix Mourrier, France, 2021, 29’

    Mexico, October 2011. A mysterious dream gives birth to Cuco, a transgender latex pirate activist. This essayistic film follows their quest to create more recognition for the queer community.

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    The Hymns of Muscovy

    Dimitri Venkov, Russia, 2018, 14’

    The Hymns of Muscovy is a trip to the eponymous planet, which is an upside-down space twin of the city of Moscow. Gliding along its surface, we look down at the sky and see historic architectural styles fly by—the exuberant Socialist Classicism, aka the Stalinist Empire, the laconic and brutalist Soviet Modernism, and the hodgepodge of their contemporary knock-offs and revivals.

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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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    Before Then

    Mengzhu Xue, China, Germany, 2024, 30’

    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.

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    Pirate Boys

    Pol Merchan, Germany, 2018, 13’

    Punk author Kathy Acker’s work is the starting point for a conversation about gender identity and body transformation and is linked to the punk movement of the 1970s and 1980s.

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    This Day Won’t Last

    Mouaad el Salem, Belgium, Tunisia, 2020, 25’

    In this urgent diary film about longing for freedom and community, the filmmaker reflects on the individual yet collective experience of growing up queer in Tunisia today.

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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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    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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