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Rain
Rain (Joris Ivens & Manus Franken, 1929)

    Rain

    Regen
    Joris Ivens, Manus Franken, The Netherlands, 1929, 16’

    Joris Ivens films Amsterdam during a rain shower. This poetic city symphony, a “cine-poem” per the film’s opening title cards, shifts moods, following the gradual transformation from sunny Amsterdam streets to raindrops in the canals and on windows, umbrellas, and trams, until it clears and the sun breaks through once again. 

    Rain became Ivens’s breakthrough film as an avant-garde artist. It took him over two years to capture enough rain showers across different locations in the city to compose this film. In 1932, Lou Lichtveld provided sound for the film. 

    Bio Joris Ivens

    Joris Ivens (1898-1989) was a Dutch documentary filmmaker. His father owned a photography shop in Nijmegen, and with the help of his employees, young Ivens made his first short film. De wigwam featured his parents, brothers, and sisters. From the end of the 1920s, he became one of the vital figures in the Dutch avant-garde with influential films such as De brug and Regen. He also founded Studio Joris Ivens, a cradle of experimental film in the early 1930s, where young, enthusiastic filmmakers found a home. He later made important political documentaries, including Misère au Borinage (1934), Valparaiso (1963), and Far from Vietnam (1967).

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    “Greatest” Short Films of All Time 2025

    02.02.2026

    As a collective love letter to the art of short-form moving image, yanco and Kurzfilm Festival Hamburg, together with Talking Shorts, invited filmmakers, curators, critics, and scholars worldwide to participate in a first-ever poll of its kind. Invitees were asked to nominate ten audiovisual works under sixty minutes that they personally consider the “greatest” of all time. Through this non-academic approach to canon-building, this has led to an inspiring list of 105 titles.

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    467
    • This film was #62 in the “Greatest” Short Films of All Time 2025
      voted by Heleen Gerritsen, Hannes Wesselkämper, Alyssandra Maxine, Koen de Rooij, Eneos Çarka

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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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    Snow Edge

    Juan Francisco Rodríguez, Colombia, 2021, 15’

    The thaw of the so-called eternal snow of Páramo, a neotropical alpine ecosystem in the high Andes, exposes a layer of meaning about the origins and survival of the landscape.

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    10th of November | 09:05

    Els Opsomer, Belgium, Turkey, 2008, 14’

    Every year on the 10th of November, at 09:05 in the morning, individuals across Turkey cease all activities. Cars pull over, and pedestrians stop and stand still, in remembrance of Mustafa Kemal Atatürk (founder and first president of the Republic of Turkey), who died on this day and time in 1938. Els Opsomer captures such a moment on film.

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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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    Atopia

    Olivier De Vos, Belgium, 2021, 18’

    An introspective essay about the search for a place between reality and imagination: a placeless place made up out of dreams and a longing for fluidity. Slowly, the grains of the compressed image become the sands of the atopic beach, revealing an imaginary place.

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    Paradise

    Laura Vandewynckel, Belgium, 2014, 6’

    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.

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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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    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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