25.05.26, 20:30, Bandes D’Hystériques (2026)

There is no better way to bring the season to a close than in a state of collective decay. Decasia is experimental filmmaker Bill Morrison’s ode to decay. Over the years, he has collected archive material on the theme of entropy and edited it together into a melancholic visual poem. From travel journals and dance performances to images of natural phenomena, Morrison’s examples of early cinema consistently show humanity in conflict with its own mortality. This spiritual degradation is formally emphasised by the tactility of the film material itself. The film stock of the films we are shown is so battered that it continues to tear apart and burn up as it plays. The result is a film that devours itself before the viewer’s eyes.

Naar jaarlijkse gewoonte halen we met F*Q voor onze mei vertoning een prachtexemplaar uit de queer, Y2K, romantische comedy collectie naar boven! En net zoals de spionnen in D.E.B.S. (2004) en de voetballers in Bend it like Beckham (2002), hebben ook chirurg Wil en ballerina Vivian in Saving Face hun vaste woonplaats gevonden in de kast. Na een meet-cute op het wekelijkse dans (lees: matchmaking) feest van hun Chinees-Amerikaanse gemeenschap starten Wil en Vivian een hoopvolle romance die al snel op problemen stoot wanneer Hwei-lan, Wils traditionele Chinese moeder, bij haar intrekt. Ah ja, Hwei-lan is ook ongetrouwd en onverwacht zwanger.

In een romantische komedie die genreconventies zowel omarmt als ondermijnt, worden moeder en dochter geconfronteerd met culturele verwachtingen, generatiekloven en geheimen die ze met alle macht bewaken. Alice Wu thematiseert in haar langspeeldebuut ‘the closet’ binnen de specifieke context van een cultuur zonder deze te demoniseren en maakt van Saving Face zo een hartverwarmende ode aan de Chinees-Amerikaanse diaspora en de bevrijdende vreugde van het leven van je eigen waarheid.

“My cherry-pie present to the fans – though one wrapped in barbed wire.” That’s how Lynch described his polarising, surrealist masterpiece *Fire Walk With Me*. This prequel to the series follows Laura Palmer, the seemingly perfect prom queen, as she descends into a spiral of drugs, sexual abuse and supernatural terror during her final, desperate days. On the one hand, a nostalgic return to Twin Peaks; on the other, a relentless, raw plunge into Lynchians horror.

Whereas in the series Laura hovers over the town like a mythical spectre, here she takes centre stage as a broken girl, trapped in a nightmare of abuse, guilt and inescapable violence. Lynch trades the eccentric charms of Twin Peaks for a ruthless confrontation with the dark side of small-town America. The result is one of his most polarising, yet also most human works. Join us in bringing a wonderful Film-Plateau semester to a close with the Master of Dreams.

This screening will be introduced by film scholar Atalya De Cock.

Marcel Hanoun’s feature debut, Une Simple Histoire, follows the wanderings of a single mother and her daughter through Paris. In a desperate search for work and shelter, they move from one hotel to another, until a downward spiral of misfortune eventually leaves them on the streets. In an observational style that combines influences of neorealism with an almost spiritual minimalism shared with his contemporary Robert Bresson, Hanoun offers a melancholic portrait of a world in which individualism and exclusion prevail. Commissioned by television and working on a limited budget, the Tunisian-born filmmaker displays an aesthetic drive for innovation that manifests itself primarily in formal playfulness and the narrative use of sound within a flashback structure.

Although Hanoun’s films and the many texts he wrote garnered praise from filmmakers such as Jonas Mekas and Jean-Luc Godard, he never received the same attention as his contemporaries. His uncompromising stance, not only in making but also in distributing his films, drove him into obscurity. It is only in recent years that Hanoun has been recognised for his aesthetic iconoclasm, which helped pave the way for the French Nouvelle Vague, a movement that would ultimately overshadow him.

KASKkrakers is making a comeback. This short film evening brings together students from different generations of the KASK & Conservatorium film programmes – spanning fiction, documentary and animation – to showcase their latest work. In this edition, we explore a variety of alternative masculinities through a four-part series focusing on fragile men. Failed machos, hair-seeking gentlemen and a sleepless boxer are featured in a programme that gently tears open the straitjacket of traditional gender roles.

In No Pussy (2023), Elena Leblon explores the world of men’s retreats. Mao, a middle-aged Chinese man, attempts to come to terms with his inner anger, but soon discovers that the promised liberation has a bittersweet taste. Elsewhere(2023) by Zaur Kourazov is a multi-layered documentary portrait in which a young boxer is followed through his Spartan training regime. Taught to suppress weakness, he becomes increasingly alienated from his own feelings. The search for the true self takes two brothers to Istanbul for a hair transplant in Beautiful Men (2023). With humour and empathy, Nicolas Keppens captures their odyssey through uncertainty. We conclude with Men on Boats (2025) by Dries Marchal. Here, a group of friends confronted with death find themselves in a whirlwind of loss, confusion and ecstasy.

The screening will be followed by a Q&A with various filmmakers.

Join us in discovering this enchanting gem from the Japanese underground cinema scene. A former star from the silent film era enlists the help of a private detective and his assistant to track down her kidnapped daughter. Soon, the trio finds itself in a labyrinth of obscure clues and archetypal villains. What follows is a game of cat and mouse in which the boundaries between the harsh underworld of the 1950s and the silent film world of the 1920s blur. Reality and illusion merge in a haze of waking dreams, where magic, metafiction and mystery set the tone.

With no formal film training but a deep reverence for film history, the independent Japanese director Kaizô Hayashi made his debut in 1986 with this utterly unique ode to hard-boiled detective stories, old Tokyo and the mythical past of cinema. It was only years later, thanks to crowdfunding, that this film was rediscovered as a long-forgotten dream. To Sleep So as to Dream feels as though a lost romantic, a kindred spirit of Guy Maddin and Bi Gan, has conjured his vision directly onto celluloid.

This screening will be introduced by Kuleshov dreamer Tim Maerschand.

In the Montréal metro, Raoul and Béatrice’s eyes meet, and suddenly the city seems to shift ever so slightly. He is a rock star activist with grand plans; she is a nocturnal flâneuse who hands out books to the homeless. Every Thursday evening, Béatrice meets up with her friends Constance and Eugène to dream aloud of a poetic uprising. Constance broadcasts politically charged sound art via an independent radio station, and Eugène has been writing a novel for years that never seems to be finished. When Raoul appears in their world, their small circle suddenly begins to resonate with grander revolutionary fantasies.

This hypnotic, fragmentary ode to resistance hovers between essay, fiction and daydream, imbued with the spirit of Godard and Debord. Film, video, archive footage and glitching phone screens intertwine. Playing with the boundaries between fiction and autobiography, between activism and performance, the characters and the city itself slowly begin to awaken from their apathy, ready for a revolution that might spring from books, sound waves and a handful of friends in a dark room.

This screening will be introduced by filmmaker Émilien Dubuc and preceded by the 16mm short film La Plage (1991).

Weird Wednesday packs her suitcase for an unparalleled campy crime caper. Forget James Bond and open your heart to Diabolik: a master thief who conquers the underworld in tight latex. Accompanied by his girlfriend Eva Kant and armed with an arsenal of high-tech gadgets, this suave super-criminal plans a series of stunning heists that leave many a law enforcement officer eating their hat. When his eye falls on a substantial hoard of gold, however, our anti-hero faces a challenge that pushes his cunning to the limit.

It comes as no surprise that Danger: Diabolik sprang from the mind of giallo master Mario Bava. Based on Italian comic books and silent-era villains such as Fantomas and Irma Vep, the film is Bava’s ode to the poetry of pulp. Danger: Diabolik strings together a series of stylistic sensations that will make your eyes pop with visual fireworks. Like a pop art explosion, the film blazes with psychedelic visuals and absurdist daring, all set to a roaring pop soundtrack by Ennio Morricone. A devilish treat to round off the season.

This screening is preceded by the short film CHLORINE by Zayd Hamzane.

Film-Plateau transports you to the bustling, hallucinatory Shinjuku of the 1960s, where Toshio Matsumoto ignited the Japanese New Wave with Funeral Parade of Roses. In one of the earliest, most radical queer films from East Asia, Toshio Matsumoto blends documentary, avant-garde montage and playful metafiction into a thrilling portrait of the ‘gay boy’ subculture, where labels such as ‘drag’, ‘gay’ or ‘trans’ were still fluid. With his keen eye for the fringes of society, Matsumoto reveals not only the glamour but also the grim reality behind the glittering facades of Shinjuku’s nightlife.

This loose adaptation of the Greek tragedy Oedipus Rex follows Eddie, a gender-nonconforming hostess trying to navigate a city that both celebrates and rejects her. This leads to a psychosexual awakening and numerous romantic rivalries. No exoticising gaze, but an invitation to step inside Eddie’s mind. There we are introduced to her desires, traumas and gender euphoria. With echoes of Derek Jarman, yet entirely unique in its queer rebellion, Funeral Parade of Roses is a poetic sledgehammer blow that still tingles and provokes.

This screening will be introduced by Japan-Square organiser Floor Meesen

Credits and intertitles are a common yet often overlooked aspect of the film medium. Although typography plays an essential role in shaping a film’s aesthetic and informative elements, this craft is all too easily overlooked. To celebrate the publication of the book Read Frame Type Film: Written on the Screen (2025), we are joining forces with the Centre Pompidou and the Graphic Design Department at KASK & Conservatorium to celebrate the extra-textual aspects of the film title. Using two films, the exhibition explores, through tactile 16mm, how the world of letters engages in dialogue with the visual.

In Michael Snow’s So is This? each shot appears to consist of a white word set against a stark black background. Playing with viewing expectations, the filmmaker constructs, word by word, sentence by sentence, a discourse on the linguistic limits of cinema. Snow’s formalist poetry finds a counterpart in Text II. Here, Marc Adrian weaves typographic structures into a visual arrangement where syllables and their meaning are constantly challenged in formal terms.

Following the screening, we will be in conversation with authors Enrico Camporesi and Philippe Millot (Centre Pompidou) about the publication of their book project.