Films for a Change: when the screen sparks social change!

Looking Back on Films for a Change – October 24, 2025, at SABAM

On Friday afternoon, the foyer hall of SABAM hosted a new edition of Films for a Change. A cozy setting, a curious audience, and a truly warm atmosphere — all the right ingredients came together for an inspiring screening followed by a lively group discussion.

A varied selection that hit the mark

The session offered a series of short films on truly diverse subjects — portraits, social issues, personal perspectives, hybrid forms... enough to move from one emotion to another without ever losing interest.
The audience, highly receptive, praised the quality and diversity of the programming. The setup of the room — intimate yet spacious enough — allowed everyone to fully immerse themselves in the films. The result: many smiles, conversations after the screening, and a palpable desire to continue reflecting.

A rich, fluid, and down-to-earth roundtable

After the screening came the roundtable discussion, led by three dedicated speakers:

• Anny Tubbs, director and producer, founder of First Move Productions

• Geert Van Goethem, from S.O.I.L.

• Jacqueline Brau, from Graines de Cinéastes and Elles Tournent

The trio discussed essential topics for anyone creating with the goal of social change:

• the role of the artist in challenging the status quo;

• concrete ways to support and sustain socially engaged productions;

• the — sometimes complex — search for “the right platform” to share one’s work and reach an audience.

The atmosphere was relaxed and participatory: questions flew, and so did ideas. It was far from a formal debate — rather, an open discussion where everyone could contribute their perspective.

In short

This edition of Films for a Change succeeded in its mission: to present cinema that provokes thought, moves audiences, and creates a space where creators, viewers, and professionals can reflect together on the impact of images on reality.
A friendly, inspiring, and for many, motivating interlude.

Short films screened

Les Graines Silencieuses, directed by Sonadie San – 11'57

Sédami, a young Franco-Beninese environmentalist, is shocked when a colleague accuses a member of her community of contributing to global warming. She defends the man — her father’s best friend and an experienced farmer — and wants to prove his knowledge by inviting him to an event. Her father refuses, leaving Sédami feeling abandoned and doubting her own understanding. Her mother convinces him to attend, and Sédami then discovers the hidden demons of her father’s past.

Guérisons, directed by Mounir Slama – 15'

Jeanne takes us through her chaotic medical journey, meeting various specialists, seeking a diagnosis for her pain — which she describes as a pine cone piercing through her insides.

Rescue, by Gabrielle Terroux – 4'50

When poachers break into a wildlife reserve, Eli, a young animal caretaker, must save a gigantic and fantastical creature. He can rely on his flying robot assistant and the gadgets he invented himself to help.

The Beneath, by Lisette Vlassak – 7'17

When a subterranean evil terrorizes her garden, a tormented woman must face her demons to overcome her fear.

Stale Smoke, by Arthur Jamain – 9'30

Can you tell your own mother that your brother sexually assaulted you? The obvious answer should be yes. Yet few people speak out. The question remains: Why don’t we talk about it?

Pachyderme, directed by Stéphanie Clément – 10'57

Every summer, Louise spends a few days in the countryside with her grandparents. Between the garden’s green grass, swimming in the lake, and fishing with Grandpa, everything seems as sweet as Grandma’s strawberry tarts. But this year, it will snow in the middle of summer — and a monster will die.

D'Oran à Almería, directed by Lina Saïdani – 6'21

Aghilas wants nothing more than to leave his country to join his family in France. But the borders are closed, and his visa has been denied. He decides to risk everything — paying smugglers to reach the Spanish coast, even if it means losing his belongings, his identity, and perhaps even his life.

My Name is Edgar and I Have a Cow, directed by Filip Diviak – 7'45

Edgar’s daily life is upended when he falls for a newborn calf during a visit to a slaughterhouse. When an employee tells him the calf is destined to become steak, he takes it to his apartment in the city. Edgar’s life turns chaotic as the calf grows into a cow that breaks his cherished belongings. He realizes his decision wasn’t the best — and decides to make a radical choice.