A poetic and philosophical fable about the art of doubt.

In the form of a colourful, handmade collage diary, Maura De Troyer sketches a portrait of her friend Marieke, and above all, of her doubts. How do we act in a world that seems increasingly complex and contradictory? What should we do, how, and where should we go? With Thomas Mann’s The Magic Mountain as her companion, Marieke searches for her way in this world — and searches for herself.

PRECEDED BY PORTRAIT OF AN UNKNOWN ARTIST

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A painter, photographer and video artist, Tom Schurr has been working for decades without ever finding success.

Drawing on personal footage from 1990s New York and conversations filmed today, Owen and Eli Gothill portray their friend Tom Schurr, a little-known artist who has spent decades creating without ever finding success. Now living with Parkinson’s disease, Tom speaks openly about his art, his lifelong pursuit of creating and the limitations imposed by his illness. A film about friendship, vulnerability and the need to keep on creating.

FOLLOWED BY MARIEKE DOUBTS

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A funny, political and collective fable where documentary and fiction intertwine to question who has the right to tell stories — and how.

Franco-Beninese actor Tom Adjibi is tired of playing characters reduced to his skin colour. Together with other racialised people, he sets out to invent another way of telling their stories. But his project soon unravels. Playing a naïve director, he blurs documentary and fiction. With a nod to Magritte, Ceci n’est pas un film français turns representation, power and colonial legacy into a sharp, fiercely funny political fable.

PRECEDED BY L’ATTAQUE DE LA FEMME DE 50 PIEDS

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Three minutes to turn around the images that have shaped the way we look at women.

In a second-hand bookshop, young women leaf through film posters, postcards, record sleeves and magazines. Somewhere between amusement and astonishment, they discover a long history of female bodies being looked at, sexualised and turned into objects. Better to take up a camera than arms…

FOLLOWED BY CECI N’EST PAS UN FILM FRANÇAIS

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Brussels Airlines offers the Collectif Faire-Part collective the opportunity to screen their anti-colonial films on board its aircraft.

One hundred years after the first flight between Belgium and Congo, Brussels Airlines has invited the Collectif Faire-Part to show its anti-colonial films on board its aircraft. The collective debates the proposal, with each member putting forward their arguments, reservations and contradictions. Can they collaborate with a company involved in forced deportations without helping to whitewash its image? Archives and testimonies from activists and survivors are set against very concrete questions of budget, visibility and responsibility. The invitation also opens up a rare possibility: bringing a history of anti-colonial resistance to thousands of passengers.

PRECEDED BY  MOON SAFARI 

AND SUJET SENSIBLE

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In Cotonou, Benin, three men and one woman decide to make a short film about harassment.

Issa and his friends want to make a film about workplace harassment. Maïmouna, the only woman on the team, tries to bring them back to the reality of a form of violence they do not understand. Between their jokes and her attempts to give the project some weight, another question emerges: how do you tell a story about violence when you have never experienced it? And above all, what responsibility do you take on when you choose to stage it?

FOLLOWED BY  WHAT WE SAID TO BRUSSELS AIRLINES 

PRECEDED BY MOON SAFARI

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Are filmmakers just like everyone else?

Hugo Amoedo left Spain to build a life in Brussels. Fifteen years ago, he also left Raquel behind. All that remains of their story is Moon Safari, Air’s album, which was the soundtrack to their love. When a voice message from Raquel suddenly disrupts his everyday life as a filmmaker in Brussels, the past begins to stir again. Gradually, the boundaries blur between the life we live and the one we choose to film.

FOLLOWED BY SUJET SENSIBLE

AND WHAT WE SAID TO BRUSSELS AIRLINES

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In Tripoli, Lebanon, an unfinished dome designed by architect Niemeyer becomes a strange chamber for musical echoes.

In 1975, war interrupted the construction of a dome designed by Oscar Niemeyer in Tripoli. The unfinished concrete structure was left behind with an exceptional acoustic. For five days, Firas El Hallak invited musicians to experiment with this unique space. Their performances form a musical film in which the history of Tripoli and the traces of a modernist project shattered by violence resonate.

With CINEMAMED & BAFF – Beirut Art Film Festival

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An unusual encounter between a father engraver and a daughter filmmaker.

Marie-Ève De Grave takes the road in her Citroën 2CV Fourgonnette, returning to the places of her childhood in search of the father she barely knew: an artist whose engravings and wartime diary reveal more than he ever did in life. Alongside her own son, she pieces together his portrait through traces, fragments and absences, while a cardboard figure of her enigmatic father becomes an unexpected companion. A film about memory, family and what is passed on from one generation to the next.

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In Saint-Gilles, as in Pompeii, the walls are the archives of everyday life.

Tags, murals, drawings and graffiti tell the story of a city. In Saint-Gilles, residents, artists, feminist collectives, art experts and city services make their voices heard, along with their disagreements, anger and joy. As in Pompeii, the walls of Saint-Gilles have preserved stories of love and struggle.

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FOLLOWED BY CARTOGRAPHIE D’UN GRAVEUR

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