November is the queer month of choice for cinéphiles, with the 22nd Pink Screens . For ten days, the festival shows over a hundred films from the four corners of the globe, cinema that explodes screens and standards, deconstructs binarities and articulates pride.
There is a tribute to Paul Vecchiali, who died this year, and two special focuses: one dedicated to the figure of Orlando, on the occasion of the release of Paul B. Preciado’s film Orlando, ma biographie. Preciado’s film Orlando, ma biographie politique, and the other on the forms of resistance contained in many films in this edition.
A varied programme includes films from Africa such as the sensitive All the colours of the world are between black and white (Nigeria) and the surprising Neptune Frost (Rwanda). There are also films from India, Taiwan, Mexico, Colombia and Brazil. Of course, European cinema is not forgotten and Belgian cinema is in the spotlight with at least a dozen short films. At the end of the festival, a jury will award the prize for the best Belgian short film.
Sexuality is given a prominent place in the programme, with Pornomelancolia, our Porn, porn, porn block, the vintage D’hommes à hommes and Assexybilidade, in which persons with disabilities show that sex and fucking is also their business.
Pink Screens festival presents 37 films and more than 70 short films across 11 screenings. And an XL exhibition in the Nova bar and Cinéma Galeries vaults, where committed and proud artists exhibit. Pink Screens encourages you to make your convictions heard loud and clear. There are lectures, performances, long discussions and shared drinks at the Nova bar. And of course, there are meetings with the festival’s artists and directors, a too-crazy team of volunteers and Pink Night to make the city sparkle, not to mention dance.