Women I Love

By on


No votes yet

The first weekend of June Cinematek celebrates the combat of women, female artists and filmmakers, feminists and their commitment. A weekend focus on female pioneers who have brought new representations of women to the screen, made the camera a weapon for emancipation and have innovated film language: From Les Insoumuses, Carole Roussopoulos & Delphine Seyrig, to Barbara Hammer, and Carolee Schneemann. Four screenings that are remarkably intertwined.

In collaboration with Centre audiovisuel Simone de Beauvoir,  Pink Screens, Elles Tournent Dames Draaien and Centre du Film sur l'Art

June 1st, 19h
- Delphine et Carole, insoumuses (Callisto McNulty, Switzerland / France 2018, b&w + colour / 70’ / sub : EN)
Enlightening for cinephiles, Francophiles, feminists or all three together: the Belgian premiere of 'Delphine et Carole, insoumuses' kicks off our Weekend "Women I Love". Watching footage of Seyrig and Roussopoulos at work and seeing clips from some of the resulting videos, one observes that actively experimenting with new media was central to their methods. The documentary chronicles in a fresh and powerful way Delphine Seyrig’s fight for women’s rights both off the screen and behind the camera.
The start of our Carole Roussopoulos, vidéaste feministe retrospective.

Presented by documentary maker Callisto McNulty, the grand daughter of Carole Roussopoulos and by Nicole Fernández Ferrer (Déléguée générale du Centre audiovisuel Simone de Beauvoir)

June 1st, 21h
- No No Nooky T.V. (Barbara Hammer, USA 1987, b&w, + colour / 12’ / NO DIALOGUE)
- Sanctus (Barbara Hammer, USA 1990, colour / 19’ / music)
- Nitrate Kisses (Barbara Hammer, USA 1992, NB / 67’)

The title of our weekend Women I love has been inspired by the work of Barbara Hammer. The pioneering experimental filmmaker whose visions of life and love channeled a distinctly lesbian point of view, has died at the age of 79. After five decades as a cult figure in the art world and a fearless icon in the LGBTQ community.Pioneering in expressing lesbian bodies, sexuality, and political ideologies in non-narrative, avant-garde short films of the 1970s, Hammer assembles her debut feature Nitrate Kisses as a queer biography, and a call to arms for lesbians, gays and anyone else whose sexuality and gender expression do not meet societal norms to tell their stories.

Introduction by Pink Screens within the frame of our Our Story collaboration.

June 2nd, 17h
- Breaking the Frame (Marielle Nitoslawska, Canada 2012, colour / 100’ / sub : FR)
Carolee’s aesthetic has always been very close to Marielle Nitoslawska: “Especially her way of working with the materials of daily life. I saw her film Fuses (1965) in my twenties at a little repertory theater in Montreal and it stuck with me. What felt so powerful and surprising to me was how the film rendered the feeling of lovemaking. The solely physical aspect is subverted, and instead we get into a person’s emotional experience. I had never ever seen explicit images of sexuality before then, but I didn’t find it shocking. It was warm, even hopeful.”

Presented by Nicole Fernández Ferrer (Déléguée générale du Centre audiovisuel Simone de Beauvoir)

June 2nd, 19h
- Genet parle d’Angela Davis (Carole Roussopoulos, France 1970, b&w / 7’ / V : FR)
- Le FHAR (Front Homosexuel d’Action Révolutionnaire) (Carole Roussopoulos, France 1971, b&w / 26’ / V : FR)
- S.C.U.M. Manifesto 1967 (Carole Roussopoulos, Delphine Seyrig, France 1967, b&w / 27’ / V : FR)
We close off the weekend with a compilation of some of the films mentioned in the documentary the day before: Footage of marches and art-cum-political actions. The communal energy and mirth in these scenes is enviable.

Presented by Nicole Fernández Ferrer (Déléguée générale du Centre audiovisuel Simone de Beauvoir)



Saturday, June 1, 2019 (All day) to Sunday, June 2, 2019 (All day)


  • 9 Baron Horta
    1000   Brussels
    50° 50' 39.0948" N, 4° 21' 36.5868" E