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  • Scum Mutation
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part of
double bill #12

Scum Mutation

Ov, France, 2020, 10’
Annecy

2021

Festival du nouveau cinéma

2021

In this cyberpunk animation, four creatures wobble like marionettes in a black void. Bent, with bulging or thread-thin limbs, their skin turned inside out: human anatomy has mutated. An alien power tries to subdue them; police voices strike as if they were truncheons, but these vulnerable bodies start to fight back. Scum Mutation takes us into the battle zone of radical feminist protest—the film becomes a resounding beacon of reconquest.

A film as an emancipatory response to rage. A depiction of societal, accepted violence—“our bodies are occupied territories”. But then these territories are reclaimed by complex bodies that are both fluid and incarnational; bodies that know how to fight back and form collectives; bodies that, despite all hostility and oppression, find the strength for a decisive liberation strike. The film deals with police violence, rape, fear, post-traumatic stress disorder, and the (queer-) feminist radical response to intolerable conditions. Conceived as a testimony, Scum Mutation finds its allies in the viewers and listeners, who engage with invented digital bodies that nevertheless seem to be made of flesh and blood.

Borjana Gaković

Scum Mutation by Ov is a physical experience, a cyberpunk animation that hits all senses. Resistance becomes visible, audible, perceptible, and tangible. In this empowering 10-minute ride, we can learn a lot, for example, how to locate ourselves in a supposedly bottomless space. We learn to process trauma through solidarity, and we learn to scream out—strategies of survival in an alienated world.

Borjana Gaković

Credits

Script
Ov
Editor
Ov
Sound
Ov, Raphaëlle Duquesnoy
Film school
Le Fresnoy
168
animation experimental politics queer

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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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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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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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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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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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3723 km As the Crow Flies

Oksana Luyssen, Ysé Auguste-Dormeuil, Belgium, 2024, 15’

Obtaining official documents is a symbol of coveted freedom and security for migrants. But how do you navigate the administrative labyrinth? This film explores the relationship between identity, race, and European bureaucracy.

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Paradise (Laura Vandewynckel, 2014)
Paradise (Laura Vandewynckel, 2014)
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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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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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