The Social Life of Film brings together 14 film platforms from around Europe and beyond to share their ideas and experiences of trying to build a more inclusive film culture. Monokino brings Ostend to Copenhagen and invites to look at the sea.

VIVIAN OSTROVSKY — US/BR, 1983 – 16MM – 10’

HENRI STORCK – BE, 1929-30 – 16MM – 11’




13/05 15:00 Husets Biograf Kopenhagen

The sea is our favourite projection surface for images, stories and histories. In this programme we go from the sea to the ocean, from Belgian film pioneers Henri Storck and Marcel Broodthaers, to contemporary filmmakers Katrien Vermeire and Antoinette Zwirchmayer. Vivian Ostrovsky brings along Carmen Miranda to help us celebrate the joy of looking at the sea.

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The Social Life of Film is the first international congress for nomadic screening collectives in Scandinavia and beyond, co-organised by PRISMS and the Copenhagen-based group Terrassen.

Participating organisations include: Beforeforgetting (Copenhagen), Camelia Committee (Oslo/Beirut), Cinema Parenthése (Brussels), Labor Berlin, OtherCinemas (London), FarO (Lisbon), Haerk (Oslo) Liberated Film Club (UK), Masahat (Oslo), Monokino (Ostend), Polar Film Lab (Tromsø), PRISMS (Oslo), Sinema Transtopia (Berlin), Terrassen (Copenhagen).

With the support of the Flemish Audiovisual Fund and Flanders in the Nordics.

SUPPORT — We currently work without subsidies, so your support is more than welcome and literally brings light to the screen:

BE80 7340 4532 5277     BIC: KREDBEBB

Payment reference: ‘Gift’.

Gifts above the sum of € 40 are tax deductible.
A gift of € 100 will only cost you € 55.

Artistic coordination: Anouk De Clercq, Godart Bakkers
General coordination: Ditte Claus
Artistic team: Eric de Kuyper, Xavier Garcia Bardon
Production team: Bob Mees, Jef Declercq, Johan Opstaele, Noah Heylen
Communication: Cynthia Vandenbruaene
Graphic design: Michaël Bussaer. Webdesign: Dominique Callewaert.

With the support of Auguste Orts, CINEMATEK, KAAP, KASK School of Arts Gent, Onderzoeksfonds Universiteit Gent, Vlaams Audiovisueel Fonds.

Whoever walks in Ostend today is confronted with a fantastic eclecticism: a brutal grey apartment block exists next to the glorious Thermae Palace. The mighty, almost Stalinist, building of De Grote Post dominates the Hendrik Serruyslaan. A former department store houses a museum for contemporary art. Belle-époque houses are hidden in the quiet but stately streets.

In 2017, one void struck artist Anouk De Clercq: that glorious film culture of Henri Storck, James Ensor or Raoul Servais had disappeared from the streets. With the closure of the Rialto cinema, the last independent cinema from the Ostend cinema circuit also disappeared. Against such an extraordinary backdrop, with the sea as a large projection surface for images, stories and histories, that is such a shame.

And so the idea of Monokino ripens: one room, marked by an equally fantastic eclecticism, where cinema can be itself again. One room where long and short films, film classics, auteur cinema, video art, experimental films, animation, or the work of young makers can find a place. Monokino shows, questions, responds, engages in conversation, invites, welcomes, puts in perspective. Monokino is a place of, by and for people from Ostend, for professionals and enthusiasts, for young and old, for those from here and those from there.

The films that Monokino wants to show don’t only live on the screen. They also spread between residents, spectators, and makers. In that sense, Monokino is also Kopfkino: a mental cinema, where images get the chance to live and multiply.

That’s how Monokino drifts nomadically through those eclectic streets of Ostend and settles in the heads and hearts of the people of Ostend. Soon it’ll moor for good.

Monokino wants to drive cinema into the 21st century and illuminate the adventurous side of film. While we strive for a permanent place as anchorage for cinefiles from Ostend and beyond, Monokino operates as a nomadic film platform.

The sea is Monokino’s favourite projection surface for images, stories and histories. In anticipation of our next screening, we’ve started to collect a list of films in which the sea plays a main or supporting role. Can you think of a film that’s not already on our list? We’d love to hear about it via

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