1.0NW Aalsthttps://nw-aalst.be/en/rich600338<blockquote class="wp-embedded-content" data-secret="1AEwRchpTI"><a href="https://nw-aalst.be/en/film/shorts/">Shorts</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://nw-aalst.be/en/film/shorts/embed/#?secret=1AEwRchpTI" width="600" height="338" title="“Shorts” — NW Aalst" data-secret="1AEwRchpTI" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://nw-aalst.be/wp-includes/js/wp-embed.min.js </script> https://nw-aalst.be/wp-content/uploads/2026/02/Black-Panthers-3.jpeg1600900This program brings together three short films in which Agnès Varda uses her camera as an instrument of attention, solidarity, and playful observation. In Les Dites Cariatides, Black Panthers, and Salut les Cubains, Varda seamlessly moves between poetry, politics, and rhythm, never losing her human gaze.  Les Dites Cariatides (1984) opens the program as a brief, playful love letter to Paris. Varda gives voice to the female sculptural figures on façades and buildings, transforming architecture into a silent yet expressive presence. In Black Panthers (1968), she turns her attention to the United States, documenting the eponymous movement up close—not as sensationalist news, but as an engaged portrait of people, bodies, voices, and collective struggle. Salut les Cubains (1963) concludes the program with a lively, musical film essay built from hundreds of photographs Varda took during a trip to Cuba. The result is a rhythmic portrait of a country in motion, imbued with energy, pride, and vitality.  Together, these three films showcase Varda’s extraordinary ability to open a world with minimal means: attentive, engaged, and playful—cinema as a way of seeing and of living together.