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During the Young Critics Workshop (12 – 23 October 2021) at Film Fest Ghent, five aspiring film critics (ages between 18 and 26) from Belgium and from abroad write reviews and essays on our festival films.

During the Young Critics Workshop (12 – 23 October 2021) at Film Fest Ghent, five aspiring film critics (ages between 18 and 26) from Belgium and from abroad write reviews and essays on our festival films.

Daniel Pemberton has won the Film Composer of the Year Award at the 21st World Soundtrack Awards Ceremony in Ghent. Carlos Rafael Rivera received the Television Composer of the Year Award. “Call me Cruella” from Disney’s Cruella was presented with the Best Original Song Award, while Nainita Desai took home the Discovery of the Year Award. Benji Merrison and Dougal Kemp were honoured as well. Eleni Kariandrou received the Lifetime Achievement Award.

We look back at the 48th edition of Film Fest Ghent with a lot features, short films, concerts, intriguing talks, cosy nights out and so much more. We hope that you enjoyed FFG2021 just as much as we did. Relive the festival with our aftermovie!

A Hero by the Iranian director Asghar Farhadi won the Grand Prix in Cannes in june 2021. Farhadi's latest drama is also Iran's official Oscar entry for the 2022 Academy Awards.

The World Soundtrack Awards 2021 Ceremony & Concert truly was a night to remember. It not only featured beautiful, even emotional moments with the winners on stage, but also unforgettable performances by Brussels Philharmonic conducted by Dirk Brossé, including scores composed by Max Richter, Eleni Karaindrou and more. Enjoy!

Film Fest Gent is looking for LOCATION MANAGERS (F/M/X) to strengthen the team in the run-up to and during the 52th edition of Film Fest Gent (9 > 20 October 2025).

When was the last time you heard a character in a movie breathe? Not the laborious gasps of a boxer, not the frantic panting during an action scene. The simple sound of breathing. In, out. The lungs as a metronome. Jonas Carpignano’s films are tethered to the physicality of their characters. So close is the audiovisual bond that the noises these bodies produce become part and parcel of the sound design. A quiet inhalation, an anxious pant: Carpignano uses them as subtle symptoms of the humanity of his characters. Recognizable and authentic.

Video essays are slow criticism. Not by choice, but by necessity. Video essay makers work with images and sounds from films and so these must be (digitally) available. Often, this means waiting months for a film to become available on disc after its passage through the cinema halls. Even in these pandemic times, when films are quicker to stream to streaming services, the reviewer with the pen often has weeks ahead of the one behind the editing keyboard. This is not necessarily a disadvantage. This enforced waiting period makes all too quick judgements evaporate. The spirit of the film is given the chance to ferment: it is a time for reflection and contemplation from which video essays can benefit.