Come, Sweet Death

On a tram ride along the coastline, Robin looks back on her turbulent relationship with Ada. Unspoken words are all that’s left, the broken pieces cut like glass. But why are they not sharp enough?

At her sister's funeral, a young woman is distracted by a something from the woods.

A pianist drives around a forest landscape, wandering in search of her way. A way to let go of memories. Letting go of the woman of her memories. Like a wind, they blow through her mind, mingling and enriching the music that propels her along her path. Her longing on the tip of her tongue and the end point of the journey.

A hauntological exploration of Northern Ireland’s landscapes and the remnants of its occupied past, blending together eerie archive footage and voyeuristic location shooting as a ghostly figure lingers through the shadows of a long-abandoned military fort.

Alia shares an apartment with two friends. They spend the strange period of lockdown together, while also going through the painful process of mourning their friend's death.

Twelve-year-old Zlata has to find her way in Belgium after she inevitably had to flee the war in her home country, Ukraine. Her father, Petro, and Findus, her cat, stayed behind, Mother Ira and little brother Martin came along. Step by step the adolescent girl explores not only her new living environment, but also her own identity. Awaiting the uncertain arrival of her father, Zlata slowly opens up.

In her film 1000 Girls, A Place We Go, Sietske Van Aerde leads viewers through a series of playful transformations. Inspired by the nymphs of Ovid’s Metamorphoses, who are constantly shifting shape due to the cruelties inflicted upon them by the gods, the film follows several individuals searching for ways to exist in a world that can often feel heavy. Van Aerde films her own surroundings, capturing friends, artists, and other passers-by as they speak about themselves. We witness a variety of internal portraits unfolding.

After reading Didier Eribon’s Returning to Reims, in which the author returns to the working-class village of his childhood, Kumail Syed realised that his life was shaped through a very different experience of class than those around him. Up until that point the filmmaker had denied his background. When he realised that his rejection was an insult to the reality that his parents had experienced, he decided to revisit the neighbourhood of his childhood. Les enfants ont des oreilles bears witness to Syed’s class of origin through the form of a filmed diary. It shows what the working class can represent today through tableaux vivants from the neighbourhood, as well as through the testimonies of the director and his mother, and the people he encountered during his return.