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  • The Wagoner
The Wagoner
Borom Sarret (Ousmane Sembène, 1963)

    The Wagoner

    Borom sarret
    Ousmane Sembène, France, Senegal, 1963, 18’

    Ousmane Sembène’s first film uses a mixture of documentary and fiction techniques to tell the story of a young cart-driver in Dakar. He is robbed by a succession of dishonest passengers and ends up having his cart confiscated by the police, thereby losing not only his means of livelihood but his sole claim to self-respect in a poverty-ridden community.

    The film illustrates the continent’s poverty, showing that independence has not solved the problems of its people. The Wagoner is often considered the first film made in Africa by a Black African. 

    Bio Ousmane Sembène

    The Los Angeles Times considered Senegalese Ousmane Sembène (1923—2007)  one of the greatest writers of Africa. He has also often been called the ‘Father of African film’. A firm believer in the big screen, he refused to release his films on video and DVD for many years. This led to few opportunities to see his films, compounded by the racism that relegates pioneering Black and African directors to history’s margins. He came of age in Senegal’s segregated cinemas, which he attended almost every day.

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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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    • This film was #37 in the “Greatest” Short Films of All Time 2025
      voted by Juliana Arana Toscano, Claire Diao, Didi Cheeka, Ruun Nuur, Malik Berkati, Carlos Ramos, Vincent Förster
    documentary fiction politics portrait

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    0.2 Milligrams of Gold

    Diego Quinderé de Carvalho, Belgium, Hungary, Portugal, 2021, 24’

    Eight thousand five hundred kilometres lie between the Amazon and the Ardennes. In his home country of Brazil, filmmaker Diego looks at the inaccessible forest from the outside. Its Belgian counterpiece, however, is easier to explore.

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    Note on Multitude

    Ibro Hasanović, Belgium, Kosovo, 2015, 8’

    Intimate, emotional, and sometimes violent moments of farewell: men, women, and children leave their homes for an (unknown) future as migrants.

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    Mars, Oman

    Vanessa del Campo, Belgium, 2019, 20’

    Oman’s vast plains look so much like Mars that they are used as a training ground for astronauts. Two local girls gaze at the starry sky like curious scientists while the astronauts philosophise about living on the Red Planet.

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    I Am Good At Karate

    Jess Dadds, United Kingdom, 2021, 11’

    Portrait of a young teenager with mental health issues who is passionate about karate. They wander around a housing estate in East Kent, locked in verbal and physical battles with a hallucinatory demon.

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    Because We Are Visual

    Gerard-Jan Claes, Olivia Rochette, Belgium, 2010, 47’

    By means of visual material gathered from online sources, filmmakers Olivia Rochette and Gerard-Jan Claes create a unique poetic realm in which thoughts, fears, desires, and worries are shared via webcam, and merge together.

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    Trajectory Drift

    Iván Castiñeiras Gallego, France, United Kingdom, 2018, 24’

    In a container, sitting between crates of merchandise, two men talk about their exile. Their stories about the crossing of endless borders come together in a common dream: to reach England.

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    The White Elephant

    Shuruq Harb, Palestine, 2018, 12’

    Using images shared on the Internet by Israelis during the Gulf War, the First Intifada, and trance music gatherings, Shuruq Harb paints the portrait of a Palestinian teenager in the 1990s. In the midst of Israeli pop culture and the political climate of the Oslo Accords, she comes to grips with her anxiety.

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    Oh Willy...

    Emma De Swaef, Marc James Roels, Belgium, 2011, 17’

    A gentle, middle-aged man returns to the nudist colony he grew up in to visit his elderly mother. Her sudden death leaves Willy in a state of sadness. He soon finds himself lost in the midst of a savage wilderness, trying to find comfort.

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