Films byTexts by Sarah Vanagt
FILM
Sarah Vanagt, 2022, 31’

In De Dragers [The Porters], young people in Brussels, with many different backgrounds and horizons, sit together on benches in parks.

FILM
Sarah Vanagt, 2006, 15’

Large parts of Goma were covered with lava after the eruption of the Nyiragongo volcano in January 2002. Today kids live in the ruins on the lava. They sell paper hankies to grown-ups in the city, and lava rocks to construction builders.

FILM
Sarah Vanagt, 2003, 16’

Three statues on the Mont des Arts in Brussels: a king, a queen and a medieval knight. Three newcomers to Brussels: a Philippino boy, a Rwandan refugee girl and a Moroccan boy. Three statues, three children; an imaginary conversation.

 

FILM
Sarah Vanagt, 2019, 35’

“What kind of futures can be read in the impersonal fragments of our reality? It’s a question that inevitably gains attention and importance when it’s posed to those who the future, pre-eminently, belongs to.

Manifesto NL FR EN
19.02.2018

En met die toegenomen gevoeligheid wordt op zijn beurt ons denken versterkt. De duisternis van de cinema als een onmetelijke serre. Wanneer je buiten komt na zo’n ‘tropische’ cinema-ervaring – buiten in de echte wereld – is er dit onmiskenbare, maar onmogelijk precies te omschrijven besef: iets is gedraaid, verdraaid, iets heeft zich verlegd.

Manifesto NL FR EN
19.02.2018

Et grâce à notre sensibilité désormais accrue, c’est notre pensée qui se renforce à son tour. L’obscurité du cinéma est comme une immense serre. Lorsqu’on sort d’une telle expérience cinématographique « tropicale », en retournant au monde réel, on réalise de façon incontestable mais sans pouvoir le décrire que quelque chose s’est torsionné, a changé, que quelque chose s’est déplacé.

Manifesto NL FR EN
19.02.2018
Sarah Vanagt 2018
Translated by

And with this increased sensitivity, our thinking is reinforced in turn. The cinema’s darkness as an immeasurable greenhouse. When leaving this ‘tropic’ cinema experience – outside in the real world – there is an undeniable awareness, impossible to specify: something has turned, twisted; something has shifted.

FILM
Sarah Vanagt, 2018, 30’

In the 17th century, Antoni Van Leeuwenhoek, a draper from Delft, begins to make glass lenses, in order to better study the quality of his textile. He melts, drips and grinds small beads of glass.