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Sappho (Barbara Hammer, 1978)
Sappho (Barbara Hammer, 1978)

    part of
    Barbara Hammer: A Short Film Retrospective

    Sappho

    Barbara Hammer, USA, 1978, 7’

    Using the sixth century B.C. lyricist’s poetry, a group of women unwrap the papyrus gauze of the lesbian goddess and bring her to life. Made by Barbara and six students at the Women’s Building in Los Angeles.

    Bio Barbara Hammer

    Barbara Hammer (1939-2019) was an American feminist filmmaker, visual artist, and lesbian activist with a career spanning over fifty years—constructing revelations on gender and sexuality, and later illness and mortality. She produced over ninety films, ranging from experimental shorts to essays and full-length documentaries, as well as performances, installations, and photographs that illuminate the representation of lesbian lives. In her work, Hammer explodes traditional notions of female sexuality by showing it for what it is: complex, messy, human.

    Audience (Barbara Hammer, 1982)
    Audience (Barbara Hammer, 1982)
    essay
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    Dead, I Won’t Be Forgotten

    Barbara Hammer’s Legacy

    Carmel Curtis
    05.10.2026

    The five works in Film Fest Gent’s Barbara Hammer: A Short Film Retrospective, presented in collaboration with yanco and Art Cinema OFFoff, span thirty-five years and together they demonstrate a pattern in Barbara’s work: no disguise. What she felt in her own body and what she showed on screen were often the same sensation, not translated but transmitted. In that transparency, her personal vulnerability can expand outward into something universal that extends beyond the individual body and beyond the screen.

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    526
    experimental avant-garde poetry queer

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    Water and Salt

    Luisa Mello, Belgium, Brazil, 2019, 10’

    A journey through the consciousness of a woman whose country is under threat from a fascist government.

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    Scum Mutation

    Ov, France, 2020, 10’

    In this cyberpunk animation, four creatures wobble like marionettes in a black void. An alien power tries to subdue them; police voices strike as if they were truncheons, but these vulnerable bodies start to fight back.

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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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    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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    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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    Red Giant

    Anne Verbeure, Belgium, 2021, 11’

    Day and night, a giant sits on a hill, far away from his smaller fellow man. He fills his days organising things and making sure everything is in the right place at the right time.

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    Language of the Entrails

    Luciana Decker Orozco, Bolivia, USA, 2025, 12’

    A journey to the underworld begins within our own entrails. This film explores the intimate rhythm of digestion only to next investigate the becoming of geological eras, inspired by Gamaliel Churata’s El Pez de Oro, in which he states, “we all carry the dead alive; that the dead live.”

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    À l’usage des vivants

    Pauline Fonsny, Belgium, 2019, 27’

    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.

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