25.10.26, 10:30, KIDScinema, The Best of Filem’On

During a nail-biting World Cup qualifier, a group of young women gather outside the stadium in Tehran. Inside, 100,000 men cheer along to the intense emotions that the ‘king of football’ evokes in them. As the women are not allowed into the stands, the friends find creative ways to experience the match up close nonetheless.

In Offside, Iranian New Wave filmmaker Jafar Panahi weaves humour, gender roles and social engagement into a vibrant portrait of an Iranian society in flux. The blurred line between fact and fiction remains ever-present in his exploration of filmmaking.

Meet your new favourite film about… porridge! The Porridge Making World Cup may sound just as dull as the porridge this championship is all about, but nothing could be further from the truth. Every year, the competition draws a host of eccentric contestants from all over the world to the picturesque village of Carrbridge in the Scottish Highlands.

Director Constantine Costi brings the village to life in a Wes Anderson-esque style, using symmetrical frames and picturesque compositions. With a mix of humour, heartfelt stories and endearingly eccentric character portraits, the film proves how you can make the most of a simple concept using nothing but porridge, salt and water.

This screening comes with a free bowl of homemade porridge.

Animation is a strange beast, often quite literally. Things that really shouldn’t move do move. The impossible becomes possible, the fantastical becomes real. With this collection of short creature features, we’re writing a colourful love letter to everything that crawls, wriggles and squirm. Expect Marcel the Shell, the hip-swinging sea snail from Babobilicons (1982), a driving kettle and a coffee pot with lobster claws. As well as a Moomin episode featuring a new soundtrack created by synthesiser sensation Vessel.

This programme has been carefully curated by experimental artist Anouk De Clercq, in the wake of her solo exhibition Love That Moves The Sun. The exhibition runs from 7 October to 13 December 2026 at STUK, Naamsestraat 96 in Leuven.

To mark a research seminar on the visual representation of Georges Rodenbach’s Symbolist novel Bruges-La-Morte (1892), Film-Plateau presents the visually stunning 1978 adaptation by the American multi-artist Ronald Chase. Chase’s film is paired with Apolline (1959), a short film by Lucien Deroissy.

This little-known gem of Belgian auteur cinema is based on a novella by Franz Hellens, which offers an interesting variation on the plot structure of Rodenbach’s novel. Filmed on location in Ghent, it tells the story of a painter who becomes fascinated by a melancholic woman gazing at the tranquil canals of the historic city centre. A remarkable double bill for aspiring art historians.

This screening will be introduced by art history lecturer Steven Jacobs.

Set against the backdrop of Guinea-Bissau’s twenty-year war of independence, Mortu Negafollows thirty-year-old Diminga, whose husband is fighting on the front line against the Portuguese colonists. The war is drawing to a close, but it soon becomes clear that, in many respects, the struggle has only just begun, and that the new burdens rest on the shoulders of the women. Mortu Nega (those who refuse death) bear the responsibility of reshaping the devastated country.

This political parable is the first feature film in independent Guinea-Bissau and also the first fictional film to depict the experiences of the war. Director Flora Gomes, in a subdued tone, weaves history with mythology in small stories that demonstrate how film served as an important weapon in the decolonial struggle.

Lesbian nuns in 1980s New York embark on a quest through historical texts to uncover the history of the dildo. Their journey runs parallel to the melodramatic conventions of film history. These two films each weave together different narratives and timelines in a quest for desire, pleasure and their expression outside the norm. How can a subversive cinematic experiment offer an answer to a Catholic upbringing? How can a ceramic dildo distance itself from phallic expectations? And what if we shape our own sexual pleasure, literally, with handmade silicone dildos?

The words of Puk Bennie complement the cinematic narratives of Su Friedrich and Paula Tomás Marques in this exploration of what pleasure and desire can mean.

Sleazeballs from all over the world can treat themselves this Halloween to a night that pumps hallucinogenic horror hits straight into your veins. Bad Trip snorts, licks and smokes its way to hell and back with a trilogy of drug-induced nightmares. First, we’ll chill out in the free-spirited 1970s with A Lizard in a Woman’s Skin; a giallo by Italian genre master Lucio Fulci. No peace, love and understanding here, but murderous intent, psychoanalysis and the twists and turns of the subconscious. Carol is annoyed by the hedonistic escapades of her free-spirited hippie neighbour Julia. When she dreams of murdering Julia, she realises the next morning that Julia has actually been stabbed.

After this taster, the party can begin with MadS, a strobe-lit, single-take descent into madness. On his way to a rave, Romaine is offered a mysterious substance by his dealer. What initially feels like psychedelic side effects gradually transforms into a more sinister battle with reality. Finally, we’ll wind down with Brain Damage. In this trashy horror-comedy, a young man enters into a symbiotic relationship with an alien parasite. It promises him sensory ecstasy in exchange for the brains of his neighbours. So find your trip sitter and join us for this night of sensory-overloading torments.

Garrett Bradley once said: “The tendency to forget is humanity’s Achilles’ heel. But trying to remember is the driving force and the seed of constant revolution.”

Some films cannot be summarised easily. They demand attention, time and a different way of looking at things. ‘Time’ is one such film. Without passing explicit judgement, ‘Time’ raises fundamental questions about how we view justice.

The past plays a central role in Bradley’s films, and the concept of time lies at their heart. Her use of the camera reflects an abstraction of reality. In ‘Time’, the wives of men in detention – and the detained men themselves – are constantly drawn back to that one moment in the past for which they have been condemned, whilst at the same time being swept towards the future.

What unfolds in ‘Time’ is not a classic tale of guilt and punishment, but an intimate and multi-layered exploration of what it means to live with the consequences of a single moment. The film moves between the past and the present, revealing how time itself plays a central role in the prison system. During this evening, Garrett Bradley’s film ‘Time’ serves as the starting point for a broader reflection on prisons and perceptions, not only in the United States, but also closer to home in Belgium and Europe. What does it mean to lock someone up in prison? And what are the alternatives?

Veronique Aicha will give an introduction to Garrett Bradley’s documentary ‘Time’, followed by a screening of ‘Time’.

• Veronique Aicha works at the intersection of art, justice and philosophy. In her work, she explores and develops new perspectives on criminal law. She has worked on criminal law projects across Europe, visited prisons and detention centres throughout the continent, and taught philosophy to people in detention for many years. She is also active as a writer, presenter and programme maker, and develops cultural and social programmes centred on justice, imagination and systemic change.

• Garrett Bradley uses narrative, documentary and experimental film forms to address themes such as race, class, family relationships, social justice, the culture of the American South and the film history of the United States. Bradley has won numerous awards, including the 2019 Prix de Rome and the 2017 Sundance Jury Prize for the short film ‘Alone’, which was released by The New York Times OpDocs and was nominated for an Oscar in the short non-fiction film category, having been shortlisted by the Academy.
  
  Bradley’s work has been featured in various venues, including her role as second unit director on Ava DuVernay’s ‘When They See Us’ and the 2019 Whitney Biennial. In December 2019, Bradley’s first solo exhibition opened at the Contemporary Arts Museum Houston (CAMH), curated by Rebecca Matalon. In January 2020, Bradley became the first African-American woman to win the Best Director award at the 2020 Sundance Film Festival for her debut feature-length documentary, ‘Time’.

This talk and film screening will take place at KASKcinema. The auditorium is wheelchair accessible and a limited number of spaces are provided within the auditorium. The wheelchair-accessible toilet is located on the first floor and is accessible via a lift (90 cm wide, 1.35 m deep). There is another toilet available further down the corridor, past the KASKcafe, for those using a wider wheelchair. Anyone with further questions about accessibility facilities can contact the organisers: helena.verheye@hogent.be.