Fear Fokol + Ramallah, Palestine, December 2018 + International Satan’s Day + Scrap
Tuva Björk, Juliette Le Monnyer, Raed Yassin & Noémie Lobry / Sweden, Belgium, Lebanon & France / 60 min
‘Fear Fokol’ by Tuva Björk is a dark journey into the closed world of private security companies in Johannesburg, reflecting on the illusion of protection in a fragile climate of inequality, fear and a masculinity in crisis.
Juliette Le Monnier’s ‘Ramallah, Palestine, December 2018’ consists of a single long take that witnesses a confrontation between Palestinians and Israeli soldiers illegally stationed in Ramallah. Visual evidence where the image field delimits our field of vision in a way that corresponds to our position as distanced observers of the limited coverage of the situation in Palestine.
Raed Yassin’s ‘International Satan’s Day’ describes a landscape of bubbling, smoking pools of sulfur as if the gates of hell had opened underground. In a poem told through subtitles, the tragic narrator invites us into his own doom.
Noémie Lobry’s ‘Scrap’ is a stream of thoughts from a sleeping brain, where corridors and passages are mirror images of both the slumbering consciousness and the twilight of industrial civilization. Here, car wrecks are wedged between the cracks in the asphalt like fossils from an apocalyptic past.
Fear Fokol
Tuva Björk / Sweden / 2025 / International Premiere / 15 min
A dark journey into the world of private security, where the illusion of protection is hard currency in a fragile climate of inequality, fear and masculinity in crisis.
There are over 550,000 active private security guards in South Africa, far more than the number of police officers and soldiers combined. In ‘Fear Fokol’, filmmaker Tuva Björk takes us on a nighttime journey into the fear and anxiety of Johannesburg’s wealthy residents by following the work of the private security guards hired to protect them. The illusion of safety slowly dissolves as we delve into a fragile climate of inequality, paranoia and masculinity in crisis.
Ramallah, Palestine, December 2018
Juliette Le Monnyer / Belgium / 2025 / World Premiere / 11 min
A document from the occupied West Bank, where an observing camera scans and delineates a violent battle between local Palestinians and Israeli soldiers in real time.
In a single, long take over 10 minutes, we witness a confrontation between Palestinians and Israeli soldiers illegally stationed in Ramallah. A concrete, physical document and a piece of visual evidence, the camera’s field of view simultaneously scans the landscape and the fierce fighting, delineating our field of vision in a way that literally frames our own position as distanced observers. As soldiers and local Palestinians take up positions in the buildings and streets of Ramallah, we experience the occupation of Palestinian territory in real time.
International Satan’s Day
Raed Yassin / Lebanon / 2025 / World Premiere / 17 min
Bubbling sulphur pools and a melancholy poem in a contrasting montage of image and text, where a tragic (anti)hero speaks to us from the edge of the world.
The camera scans a landscape of bubbling, smoking pools of sulphur as if the gates of hell had opened underground. In a poem told through subtitles, the tragic narrator initiates us into his situation, like a mythological (anti)hero who has woken up to a really bad day. Raed Yassin’s ‘International Satan’s Day’ is a film that, with diabolical humor and sincere melancholy, gives new meaning to nature’s romantic motifs: ‘I fall broken like hope / and remain as such / a king of remorse and prince of wisdom’.
Scrap
Noémie Lobry / France / 2025 / World Premiere / 18 min
The corridors of a consciousness invaded by broken cars, where images of the past, present and possible futures coexist.
‘Scrap’ is a stream of thoughts from a sleeping brain, weaving threads of past and present into a dream. Without dialogue, Noémie Lobry’s visionary film circles around motifs from the heyday of automobilism in the 20th century, when the car was the very image of movement, progress and personal freedom. Today, the wrecks of countless cars lie at the bottom of the sea, trapped in rocky caves and collapsed parking lots, like mechanical fossils in the twilight of industrial civilization. In an hallucinatory collage of fragments, new conceptual connections emerge between the subjects as a post-apocalyptic underground guerrilla with headlamps maps the rusty elephant graveyard of car wrecks.