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Joshua Simon
Joshua Simon 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 Joshua Simon:
| Movie | Original Title | Director | Country | Year | Duration | |
|---|---|---|---|---|---|---|
| La Ricotta | Pier Paolo Pasolini | Italië | 1963 | 34’ | ||
Saw it as a teenager and wanted to make films ever since... |
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| Nicht löschbares Feuer The Inextinguishable Fire | Harun Farocki | Duitsland | 1969 | 22’ | ||
You can return to it again and again to learn how to see. |
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| Letter to Jane | Jean-Luc Godard , Jean Pierre Gorin | Frankrijk | 1972 | 52’ | ||
With all of its apparent flaws—a document of what meaning images have. |
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| The Way Things Go Der Lauf der Dinge | Peter Fischli, David Weiss | Zwitserland | 1987 | 29’ | ||
Inventive, brilliant and funny |
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| Der Schlamm Von Branst | Harald Thys, Jos de Gruyter | België | 2008 | 20’ | ||
Brilliant interplay between humans as objects and objects as objects. |
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| Unsupported Transit | Zachary Formwalt | Nederland | 2011 | 14’ | ||
A guide to navigating in the world. |
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| The Immigrant | Charlie Chaplin | Verenigde Staten | 1917 | 20’ | ||
Inventive and charming. Was made when Chaplin was the highest paid actor in the world. Got him in trouble 35 years later during the second Red Scare in the US... |
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| Entr'acte | René Clair | Frankrijk | 1924 | 20’ | ||
Virtuosic and inventive collaboration of Picabia, Clair, Satie, Man Ray, Duchamp and more is a Dadaist masterpiece |
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| Confessions | Roee Rosen | Israël | 2008 | 57’ | ||
The first person narrator voice distributed and disembodied. |
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| Beyond Guilt | Ruti Sela, Maayan Amir | Israël | 2005 | 42’ | ||
A trilogy on sexuality and violence playing out power relations around the camera |
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