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Rubber Coated Steel
Rubber Coated Steel (Lawrence Abu Hamdan, 2017)

    Rubber Coated Steel

    Lawrence Abu Hamdan, Germany, Lebanon, 2017, 22’

    In 2014, artist and forensic audio analyst Lawrence Abu Hamdan examined audio files of the shots that killed Nadeem Nawara and Mohamed Abu Daher in the West Bank of Palestine. The film centres on the gunfire, yet no shots are heard. 

    A detailed acoustic analysis, for which Abu Hamdan used special techniques designed to visualise the sound frequencies, established that live rounds were fired, and an attempt was made to make these fatal shots sound as if they were rubber bullets. These visualisations later became the crucial piece of evidence picked up by news channel CNN and international news agencies, forcing Israel to renounce its original denial. Rubber Coated Steel does not preside over the voices of the victims but seeks to amplify their silence.

    Bio Lawrence Abu Hamdan

    Artist Lawrence Abu Hamdan (Jordan, 1985) practices what he calls “forensic listening” by documenting and analysing sound using video, installation, and live performance. His work frequently explores the relationships among listening, politics, human rights, testimony, and truth through various art disciplines. He also makes audio analyses for legal investigations and advocacy.
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    • This film was #62 in the “Greatest” Short Films of All Time 2025
      voted by Niels Putman, Emilia Mazik, Emily Jisoo Bowles, Peter van Hoof, Pavel Mozhar
    essay experimental politics history

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    Cyclepaths

    Anton Cla, Belgium, 2023, 12’

    On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.

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    Following the Object to Its Logical Beginning

    Lynne Sachs, USA, 1987, 7’

    Like an animal in one of Eadweard Muybridge’s scientific photo experiments, five undramatic moments in a man’s life are observed by a woman. A study in visual obsession and a twist on the notion of the “gaze”.

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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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    Ours is a Country of Words

    Mathijs Poppe, Belgium, Lebanon, 2017, 42’

    Filmed in Shatila, a refugee camp built in Lebanon when thousands of Palestinians fled their country in 1948. At an undetermined moment in the future, the refugees’ dream of returning to Palestine becomes a reality.

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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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    Blow Up My Town

    Chantal Akerman, Belgium, 1968, 13’

    A young woman, played by Chantal Akerman herself, enters her flat in Brussels and begins a household routine that gradually degenerates. Parodying the everyday, she mops the floor, polishes her shoes, and sticks tape over the cracks in the door, thereby giving domestic life an explosive twist.

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    Old Child

    Elettra Bisogno, Hazem Alqaddi, Belgium, Palestine, 2019, 16’

    Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

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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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