In ‘Because We Are Visual’ Olivia Rochette and Gerard- Jan Claes immerse themselves into the world of public video journals. The Internet and its online communities intend to bring people closer together and to connect them. Yet, surprisingly, it seems that the virtual world confronts these so-called vloggers more than ever with their own loneliness. This documentary allows the viewer to discover this contemporary phenomenon and focusesvon the experience of the body within this virtual space.vBy means of visual material gathered from online sources, the cineastes create a unique poetic realm in which thoughts, fears, desires and worries, shared via the webcam, merge together.

2013 | Documentairy| 47′ | BE |vo Eng  st Fr Nl 

What is the value of images as objective testimonies of a conflict? Can we believe what we see? In her new work, Sarah Vanagt turns her attention to an important chapter in recent European history: the International Criminal Tribunal for the former Yugoslavia in The Hague. The artist examines obstacles to reconstructing a war that is nevertheless well documented. She has started from a simple movement of the hand – a pencil being rubbed on a sheet of paper placed over an object – and adapted this “revelatory” rubbing process to the courtroom. The film Élevage de poussière / Dust Breeding offers a penetrating account of her exploration. Measuring the gap between the facts, the material proof of these facts, the images that represent them and their interpretation, she attempts to decipher the secret language formed by traces of war. Sharpening her eye until it becomes a microscope lens, Vanagt reveals a landscape of details inviting us to look at things differently.

“Something is past and something has yet to emerge and we don’t know what that is. But how can one already tell something”

Evelyne Axell was a Belgian artist whose work is only aknoweldged 30 years later. She was one of Magritte’s students. Her like, her beauty and her expression are linked. She was the first woman in history to paint herself naked, who dared expressing her desire through painting. The film follows the artist’s life.

2013 | Documentaire |10‘ | BOS/CZE | vo Bos st Fr Eng

“Personal Images: Personal Semiotics of War’ deals with my personal experience and memory of the war. It is an experimental video with documentary elements that presents parts of my collection of articles, diaries, letters, and photographs I was collecting during the war in Bosnia, from 1992 to 1995. The diaries cover different periods including the beginning of the war, police interrogations of my father, hiding in the basements, living without electricity and water, falling in love, separations, and wish to escape… The whole video also contains video footage of an intimate talk with my family discussing the dilemma and decision to remain in Bosnia during the war, as well as their emotional experiences of that period. The music used in the video was composed by my sister. I named the video ‘Personal Images: Personal Semiotics of War’ because it deals with the meaning of signs and language I was subconsciously creating as teenager during the war. It also deals with the language as such,broken communication, and letters as the only possible communication during the war, without phones or any other way of communication with the outside world.”