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Maja Korbecka
Maja Korbecka 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 Maja Korbecka:
Every poll like this only reflects the personal background and viewing history of the person who submits it. Therefore, I cannot say that this list represents the “Greatest” Short Films of All Time; rather, it reflects the films that have left a deep impression on me, talking from today's perspective.
— Maja Korbecka| Movie | Original Title | Director | Country | Year | Duration | |
|---|---|---|---|---|---|---|
| How to Imagine the Unimaginable 如何想像不可想像之物 | Liu Guangli, Chen Zirui | China | 2023 | 23’ | ||
The short film starts with a reflection on the different meanings embedded in the idea of dinosaurs and fossils, how they are represented in the media, and their position in capitalist society. However, the film gradually assumes a more personal tone as filmmaker Liu Guangli uses dinosaurs as a pretext to discuss childhood and parenthood. |
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| How a Sausage Dog Works Jak działa jamniczek | Julian Józef Antonisz | Polen | 1972 | 8’ | ||
In Jak działa jamniczek, Julian Antonisz questions the idea of being productive: the imperative present in modernity, in both socialist and capitalist societies. Antonisz draws attention to those who are not considered productive and are therefore seen as less valuable, such as the elderly or pets. |
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| There’s a Strong Wind in Beijing 北京的风很大 | Ju Anqi | China | 1999 | 50’ | ||
Very down-to-earth yet absurdist at the same time, Ju Anqi manages to convey what it feels like to be on the streets of Beijing. |
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| Watching The Pain of Others | Lého Galibert-Laîné | Frankrijk | 2019 | 32’ | ||
Desktop documentary as a performance, investigation, and communication. Chloé Galibert-Laîné reflects on the power and limitations of empathy as well as the nature of the audiovisual medium. |
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| The Blood of a Poet Le Sang d’un poète | Jean Cocteau | Frankrijk | 1932 | 55’ | ||
Pure onirism, fluidity and fun. |
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| A Woman Waiting For Her Period 等待月事的女人 | Chien Wei-ssu | Taiwan, Verenigde Staten | 1993 | 24’ | ||
In her short documentary film, Chien Wei-ssu draws attention to links between migration, sense of security and menstruation. I am grateful to Women Make Waves International Film Festival in Taiwan for showing me this work. |
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| Irani Bag | Maryam Tafakory | Iran | 2021 | 8’ | ||
Maryam Tafakory reflects on one of the recurring motifs in Iranian cinema: a handbag. However, instead of offering a historical recap, she turns toward questions of physicality, touch, mediation, and the relationships between men and women in Iran. |
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| Xiaoshan Going Home 小山回家 | Jia Zhangke | China | 1995 | 59’ | ||
One of the best films about the experience of migration from small towns to big cities, and about homecoming. |
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| Take on Me - a-ha | Steve Barron | 1985 | 3’ | |||
Animation, rhythm, movement, music, escapism. I do believe music videos should be discussed as short films. |
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| Hostile Landscapes 不明的风景 | Zhang Hanwen | China | 2025 | 59’ | ||
In Hostile Landscapes Zhang Hanwen reflects on different forms of imprisonment and surveillance while deeply grounding the narrative in the history of the borderland between China and North Korea. In the film, the two-screen composition is not a genre convention (if we think of the art gallery film or the essay film as genres), but rather a reflection on film language and what a film frame entails—the frame also being a kind of prison. |
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