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Florian Fernandez
Florian Fernandez nam deel aan de poll “Greatest” Short Films of All Time 2025, een unieke publieksbevraging als collectieve liefdesbrief aan de kunst van de korte film. yanco en Kurzfilm Festival Hamburg, in samenwerking met Talking Shorts, nodigden filmmakers, curatoren, distributeurs, critici en academici wereldwijd uit om tien audiovisuele werken van minder dan zestig minuten te nomineren die zij persoonlijk beschouwen als de “beste” aller tijden. Dit was de inzending van Florian Fernandez:
| Movie | Original Title | Director | Country | Year | Duration | |
|---|---|---|---|---|---|---|
| Black Panthers | Agnès Varda | Frankrijk | 1968 | 28’ | ||
Special shoutout to Ulysse as well! Even if my favs will always be Daguerréotypes, Les Plages d'Agnès, and Jacquot de Nantes, but they are all features |
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| Nuit et brouillard Night and Fog | Alain Resnais | Frankrijk | 1955 | 32’ | ||
| The Hand 手 | Wong Kar-wai | Hong Kong | 2020 | 56’ | ||
Antology film (Eros) made of three shorts. |
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| Bear | Nash Edgerton | Verenigde Staten | 2011 | 11’ | ||
| D’un château l’autre | Emmanuel Marre | België | 2018 | 40’ | ||
| All These Creatures | Charles Williams | Australië | 2018 | 13’ | ||
I can't help but crying every time I'm seeing this one. It's rare a fiction really engages me that much. The way it talks about people that society, or a so-called community, tends to exclude. People who are marginalized and dismissed as if they are mad, despite the fact that their sensitivity & soul are far more vivid. It reminds us to care about others on an emotional level and that it's rather the world - and not those marginalized people - that is not running smoothly. |
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| Love, Dad Milý tati | Diana Cam Van Nguyen | Tsjechië, Slovakije | 2021 | 13’ | ||
| Le mal des ardents Ardent Other | Alice Brygo | Frankrijk | 2023 | 16’ | ||
Through the intertwining of personal thoughts—sometimes controversial, sometimes sensitive, sometimes problematic, sometimes genuine—the film manages to capture the inner feelings of the protagonists at a given moment in the form of a moving photograph. Political and human, plastic, and with a particularly memorable visual approach, the film, rooted in an unsettled everyday life, offers an overview of a moment where everything can shift—as capable of shaping the future as vanishing in an instant. |
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| The Oasis I Deserve | Inès Sieulle | Frankrijk | 2024 | 22’ | ||
| Common Pear | Gregor Božič | Slovenië, Verenigd Koninkrijk | 2025 | 15’ | ||
Deeply rooted in the real world—pointing out personal, environmental and therefore political matters—yet creating its own and unique dystopian tale by blending fiction into documentary (something that is sometimes tricky to me and can lead to way too staged approaches), Common Pear is a smooth and honest journey that cares equally about the cinematographic medium and those who inhabit the film. |
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