Jan De Coster

Nicky breaks both of his feet, and asks his cousin Carlo to stand in for him during a footballmatch. But when Carlo is picked up on the day of the match, he gets in the wrong car.

A blue screen informs that war has begun. What will be needed? Collect the men, find guns, or maybe someone will give them. We need a location, a country where the war would take place. No problem, the Colonel is a real pro, he has caused wars to order, or on orders, on multiple occasions in different countries. Now his followers have grown up and caused a war in his country. He doesn’t want to, but he has to fight. He is old and tired of war. He wants to be at the table with a steaming pot of tasty mutton ribs and stare at an innocent TV screen with the news on, and the dressed-up news reporter announces that the war has begun.

Short film is set on a dark and deserted location at two o'clock at night. In the light of the streetlamps, we see how a man has been severely beaten up. To revenge him, his friend gives the assailants a dressing down. The four men attract the attention of curious motorists driving by.

A motorcyclist draws a red line in the middle of the desert. The line must never be broken, nor be passed.

During his thirty-year career, Walter Hus, a Belgian composer and pianist, has taken a thousand musical faces. While he wanted to compose a new work, a crisis blocked his creation. During an exchange with his therapist, he comes to an existential question: "Who am I musically? » Through the portrait of this composer, as abundant as it is fascinating, the film aims to give access to his creative process and thus to the endurance and beauty of creation.

Two men carry a palm tree through an endless desert to an unknown destination. Los Hervideros (Seething with Rage) is an audiovisual parable about the origin of human conflicts.

It is a love story of one family. There are neither romantic moments nor miracle changes. But there is a strong potential to change our understanding about what happy and loving family is or could be.

Visitors to the temples of modern art in global cities will be familiar with the white cube gallery space. But when one arises in the middle of a Congolese palm oil plantation, the effect is deeply disorienting. Furthermore, it draws attention to the often overlooked ties between colonialism and the art world, for example, through the multinationals that now proudly sponsor these Western museums. This Congolese arts center is part of artist Renzo Martens’s unorthodox plan to jump-start the local economy. Former workers at the plantation make sculptures that are reproduced in chocolate, and then exhibited in New York. The plantation workers, most of whom earn a dollar or less a day, use the profits from this successful exhibition to buy back the land confiscated from them by Unilever.

Roos is fourteen years old and lives with her mother and her older transgender sister Jules. Jules is currently transitioning, taking hormones and experimenting with her looks. Roos, who has no interest in nail polish and the like, is irritated by all the changes. When Jules moves out, Roos begins to miss her new sister and gets closer to her again.

In the film OJO GUAREÑA we join a group of speleologists that enter the gigantic cave of the same name in Spain. We barely notice the prehistoric traces and the contours of the spaces, but we hear all the better: drops of water that have for ages been recreating the shape of the cave and continue to do so to date, as well as echoes of human footsteps. Rubio punctuates this soundscape with memories of the speleologists and revolutionary songs that denounce Franco's dictatorship. A journey through space and time.