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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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    All We Ever Wanted Was Everything

    Enzo Smits, Belgium, 2014, 19’

    A portrait of young skateboarders growing up in a Flemish suburban town. We meet different characters going through their daily routines: riding around on their skateboards, waiting, hanging out, daydreaming...

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    Self-Portrait

    Jonas Mekas, USA, 1980, 20’

    In what one could call Jonas Mekas’ first video blog, the Lithuanian avant-garde filmmaker reflects on his life and the art of cinema and representation.

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    she asked me where i was from

    Aulona Fetahaj, Belgium, Kosovo, 2020, 24’

    Drawing on digital memories and using online tools such as Google Maps, Aulona Fetahaj reflects on how it feels to be the child of refugees in the digital age.

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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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    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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    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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    Akaboum

    Manon Vila, France, 2019, 30’

    A portrait of contemporary suburban youth seeking to invent new contours of collective identity, against the backdrop of France in the throes of recession.

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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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