A very short film, infinitely sad and at the same time mischievous and playful. The opening credits tell us the devastating news: The filmmaker’s son was killed in an accident and left behind an unfinished flip book. The father resumes work on it and continues drawing the superhero tale, creating an animated film between deep mourning and carefree children’s logic. Capturing the proximity of happiness and loss in the most succinct form.

A cosy family picnic at the place they have been visiting since the Cretaceous period is what Mom, Dad and Go Zilla want. But first the big city that has annoyingly sprung up there must be flattened. In the father’s opinion, the performance of his offspring unfortunately leaves a lot to be desired: Too dreamy and still sucking on a pacifier, the little one just doesn’t wreak enough havoc. It’s an entertaining story in the almost normal everyday life of a family.

Barely a kilometre off the Belgian coast, 35,000 tons of chemical munitions are buried at the bottom of the sea. The scraps of yesterday’s wars are secreting toxic gases today and the film explores the effects this will have – from fishing boats to delicatessen counters. An ominous droning lies over the impressive images of already dubious production processes. The shrimp end up in fish cakes. The seagulls lament the calamity. The people are at a loss.

Trees and other plants during the period of American colonial rule in the Philippines, photographed from the perspective of those in power. The images not only document the rich flora, they categorize and classify the resources of the colony. The forest becomes inventory. From potted plants to sawmills, from logging to reforestation: In her essay Shireen Seno takes us to the essence of photography itself – and to its relationship with colonialism. Because both are trying to pick something.