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we would be freer (Rana Nazzal Hamadeh, 2023)
we would be freer (Rana Nazzal Hamadeh, 2023)

    we would be freer

    Rana Nazzal Hamadeh, Palestine, Canada, 2023, 8’

    Rana Nazzal Hamadeh’s colourful, low-resolution imagery searches for indigenous plants, ravaged by settlement colonialism. More than a condemnation, Hamadeh’s docu-essay feels like a reappraisal of the (political) power that lies within crops like deerhorn and sumac. The medicinal properties of their leaves and roots in the cuisines and landscapes of both Native Americans and Palestinians—represented here on a sparse soundtrack by Linda Deer and Raya Ziada—serve as a bridge connecting their peoples from a distance.

    Despite the often contextless close-ups, the personal experiences of the two women feel like an alternative biology lesson—untouched by a dominant Western view on medicine. Their herbarium does not contain hydrogel for burns, but staghorn fern. Sumac harvesting is practical knowledge, not an internet search term. Their connection with nature is one that Westerners have long forgotten. It testifies to a greater self-reliance that must be preserved at all costs. Ziada phrases it as such: “If we don't have sovereignty over our food, we’ll always be dominated.”

    Flo Vanhorebeek
    500

    This film was part of yanco’s April 2026 calendar

    documentary politics history

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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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    A Letter to Mohamed

    Christine Moderbacher, Belgium, Tunisia, Austria, 2013, 35’

    This is a cinematic letter to the title character, who left Tunisia and now lives in Belgium. Shot in the first year after the Tunisian revolution, this is a poetic journey through a troubled landscape. Between order and chaos, the film reveals a land of disillusionment but also of humour and hope.

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    Before Then

    Mengzhu Xue, China, Germany, 2024, 30’

    Every form of communication involves deciphering codes. In Before Then, Mengzhu Xue attempts to confess a secret in the form of a letter in English, which she writes out phonetically in Chinese, and asks her grandmother to read out loud.

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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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    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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    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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    Expires in 12 days
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    Mother’s

    Hippolyte Leibovici, Belgium, 2019, 22’

    In the dressing room of Cabaret Mademoiselle, Brussels’ hotspot for drag queens, four queer performers are getting ready in front of the mirror. It’s the perfect moment to talk and open up: an intergenerational conversation about coming out and a mother’s love.

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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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