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  • Seven Times a Day We Bemoan Our Lot and at Night We Get Up to Avoid Our Dreams
Sieben Mal am Tag beklagen wir unser Los und nachts stehen wir auf, um nicht zu träumen
Sieben Mal am Tag beklagen wir unser Los und nachts stehen wir auf, um nicht zu träumen (Susan-Maria Hempel, 2014)

    Seven Times a Day We Bemoan Our Lot and at Night We Get Up to Avoid Our Dreams

    Sieben Mal am Tag beklagen wir unser Los und nachts stehen wir auf, um nicht zu träumen
    Susann-Maria Hempel, Germany, 2014, 17’

    Seven Times a Day We Bemoan Our Lot and at Night We Get Up to Avoid Our Dreams is a short animated film that seems playful only at first glance—in fact, it tells the story of a life on the margins of society in a no less disturbing way. While the filmmaker is reading quotes from conversations with an invalid man from eastern Germany, for whom experiences of violence are part of everyday life, a mechanical ballet of light switches and plastic dolls is set in motion. German songs act as amplifiers of the horror that is conveyed without being depicted. 

    Viennale

    Bio Susann-Maria Hempel

    Susann Maria Hempel (Germany, 1983) studied media design at the Bauhaus University Weimar. For the realisation of her experimental films, she received several working scholarships from the Thuringian Cultural Foundation, the Bremen Video Art Promotion Award, and the "cast&cut" short film scholarship in Hanover. Her experimental film Sieben Mal am Tag beklagen wir unser Los und nachts stehen wir auf, um nicht zu träumen received numerous international awards. In 2021-22, she was a fellow of the German Academy Villa Massimo in Rome. 

    La Jetée
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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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      voted by Amrei Keul, Chayanin Tiangpitayagorn, Olaf Held, Carlos Ramos, Anne Gaschütz
    animation experimental politics fantasy

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    Impossible Figures and Other Stories II

    Marta Pajek, Poland, 2016, 15’

    A woman trips and falls while rushing around the house. She gets up only to discover that her home has unusual features—it is built from paradoxes, filled with illusions, and covered with patterns.

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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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    D’un château l’autre

    Emmanuel Marre, Belgium, 2018, 40’

    Pierre, 25 years old and on a scholarship for a prestigious Parisian university, is lodged by Francine, who is 75, disabled, and confined to her wheelchair. Both puzzled and disoriented, they witness the French presidential elections of 2017 play out.

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    Loveboard

    Felipe Casanova, Belgium, Switzerland, 2023, 17’

    A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.

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    Swollen Stigma

    Sarah Pucill, United Kingdom, 1998, 21’

    Swollen Stigma is a visual, surrealistic narrative about a woman travelling both literally and psychically through several rooms. Memories, or fantasies, of another woman, fill her imagination. The film proposes lesbian imagery, and its shifting points of view jump between the protagonist, fantasy spaces, and her lover, making an internal world leak into what is external.

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    À Gis

    Thiago Carvalhaes, Belgium, Portugal, 2017, 20’

    The Brazilian trans woman Gisberta lived as an immigrant in Portugal. After she was brutally murdered, she became an icon for the transgender rights cause.

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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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    Empty House

    Gina Kim, South Korea, USA, 1999, 24’

    This video diary depicts a young woman’s flat, the fears and fantasies about her body plainly revealed as she wakes up with a bloated face, full of self-loathing after a night of compulsive over-eating.

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