These films will be screened on:

Friday 28 August 19.00 - 20.15
Saturday 29 August 12.00 - 13.15

Memories of what became a memory

Naemi Ada, Sen/D, 2023, 5’

The film explores the deep-seated fear of acknowledging lost love, capturing the stark emotional void within the relationship through dance.

In this short film, shot in Dakar, Senegal, Ada uses movement and scans the surroundings to portray the couple.

With thanks to Cinedans

ADEMDRIFT

Myra-Ida van der Veen, NL, 2025, 12’

ADEMDRIFT is an experimental performance film, a breath lasting 11 minutes and 54 second, exploring the inner urge to survive. In a shifting climate, the film reflects on the strength of the will to persist and the capacity to adapt: physically, emotionally, and through technology.

With thanks to Sprouts Film Festival

Daria’s Night Flowers

Maryam Tafakory, IR/UK, 2025, 16' 

In her first novel, Daria writes about falling in love with a mysterious girl named Blue. She speaks of magical night flowers that could consume women "who were seized by forbidden desires". A dream-like film that uniquely weaves together poetry, silence, resistance, and visual fragments to explore the female universe within an oppressive system.

With thanks to Square Eyes

UNLESS WE DANCE

Hanz Rippe Gabriele,Fernanda Pineda Palencia, CO, 2023, 15’

Everything is darkness… unless we dance. In Quibdó, a city with the highest homicide rate in Colombia, dance teacher Bonays and hundreds of young people come together through dance to defy their cruel fate of violence. UNLESS WE DANCE is a tribute to their resilience and to all the lives lost along the way.

UNLESS WE DANCE won the award for Best International Short Documentary at Cinedans Festival 2026. 

With thanks to Cinedans

Asiel

Already Naked

Tina Farifteh, NL, 2025, 17’

B. looks at us disarmingly. Following over four months of immigration detention at Schiphol and a stay in Ter Apel, he finds himself in a protracted asylum procedure. His gaze and the words he speaks are inescapable: “Why are people afraid of me?” He describes how passengers on the train sometimes move a few seats away. Tina Farifteh literally has us look and listen to him, holding up a confronting mirror.