Belgian artist Thomas Verstraeten creates large scale interventions in public space. In iGhent, he invites residents to join a ritual of reversal. Two reconstructed façades move through the city during Odegand in a festive procession, ultimately swapping places and revealing hidden connections between the historic center and its outskirts.

‘Relics: An Eye Once Blind’ is the striking first chapter of artist-in-residence Joshua Serafin’s ‘Lost Ancestors' series, where personal and colonial histories intertwine. Starting from their Japanese great-great-grandfather’s migration to the Philippines in 1903, Serafin traces forgotten family stories and the ruptures caused by migration and trauma. 

Serafin is a resident artist at VIERNULVIER and is internationally renowned. Their work has been showcased at leading venues and festivals, including the Venice Biennale.

Scenographer and theatre maker Jozef Wouters always responds to a built reality. In 'A Day is a Hundred Years' he interweaves the story of Decoratelier, his workspace in Brussels, with that of its janitor Barry Ahmad Talib, an artist from Sagale (Guinea). Jozef has shared his atelier with Barry since 2019. For 'A Day is a Hundred Years', he also shared his work by cutting thousands of leaves out of fabric for Barry’s tree sculptures. During this patient and time-consuming activity, their conversations created a kind of fusion between Sagale and Brussels. A place that is neither here nor there, but somewhere in between.

Placing the façade of Decoratelier front and center, A Day is a Hundred Years dramatizes the mediation between open and closed, private and public, that plays a vital role in our urban interactions. By combining traditional theatrical techniques, such as perspectivist illusions, with a turning stage and a cast composed mostly of technicians, a space is formed that allows the perspective to shift constantly. In this shifting gaze, the piece spins out into an urban design plan in the form of a simple fable. 

In ‘SCHWEINEREI’, Lieselot Siddiki stages a grotesque, sensual, musical trip about innocence, excess, and the temptation of ruin. A baroque bacchanal on the edge of the abyss: a final feast before the slaughterhouse. With Barbi Marković’s sharp, playful text and Mozart’s soothing sonatas, this is a biting, unsettling take on decadence as the world order begins to rot from within.

This intimate duet between 31-year-old dancer Emiel Vandenberghe and 82-year-old ballet legend Birgit Keil brings together a master and her student, a mother and a son. Though both have passed the peak of their careers, the drive for perfection still glows in their bodies. In this lingering afterlight, they move through a tender exchange of support and surrender.

With 4x4, we celebrate exciting creators and their creative process. Artists are given carte blanche to turn VIERNULVIER into their playground for an entire evening. Here, they can open up their artistic universe, showcase their broad, layered, or even fragile practice, and engage in explosive collaborations. We invite you to embrace the energy, chaos, and beauty of creation and break through traditional boundaries. Surprises guaranteed!

AFK is a circus performance, a glitched world where (non)humans play with norms and your senses. Sofie Anny Nicea Velghe and Camille Paycha invite you to experience the interplay of exposure and haunting transformation through a choreography of visual trickery 'AFK' (Away From Keyboard). The performers embrace their multiple selves, welcoming the ghosts hovering around, to refuse essentialism and hold space. For the making of this piece, Sofie and Camille are inspired, on the one hand, by Indigenous Brazilian philosopher Ailton Krenak, more specifically his book 'Ideas to postpone the end of the world'. Krenak argues that our world is ending not only through environmental collapse but also through a loss of imagination and ollective care. On the other hand, the makers are inspired by Cyberfemnism, a self-reflexive term where technology is not only the subject but its means of transmission. It is all about feedback. Sofie and Camille are thus making a bridge to beter explore the political power of what could seem contradictory sources of knowledge, to give space to a different virtuosity.

'Soil Biographies' is a sensory sound performance in which two versatile artists, Louis Vanhaverbeke and Farida Amadou, engage in a musical dialogue with soil. Together, they create a ritual performance about the subconscious, growth and hidden life. About the ground beneath our feet, and the voices rising from it.

Following a period of mental turmoil, theatre maker Louis Vanhaverbeke found solace in farming. Contact with soil became his way of staying literally connected to the world. Farida Amadou, an acclaimed bassist on the international improvisation scene, approaches sound as a physical force. Her practice is rooted in attentive listening and embodied presence, where grounding is not only a connection to the earth but also a way of connecting to oneself and to others through sound.

Together, they build a playground in which the soil becomes both set, instrument and co-performer. They unearth hidden feelings, lost objects, discomfort, comfort and everything that usually remains beneath the surface. Between beauty and filth, a breathing and spellbinding landscape of sound and transformation emerges. The soil becomes a source of sound, whilst sounds make the soil vibrate.

'Soil Biographies' is not a conventional narrative, but a musical love triangle between Farida, Louis and the earth. A performance that invites the audience to listen, to dig for what lies hidden within our bodies, and to ground ourselves together.

After Thomas Verstraeten had swapped the locations of two Ghent façades in a festive parade (p.69), he placed them on stage as the backdrop for a new performance. He invited the city’s residents to bring the façades to life through sound. From hurdy-gurdies and homemade instruments to a DJ set: a colourful group of people and instruments forms the newly assembled city orchestra that takes up the challenge. What music do they associate with which type of façade? What echoes behind the façade? The musicians draw inspiration from their own experiences and from stories of the past and present, but also from the opera repertoire: during the period when many ‘historic’ façades in the city centre acquired their final form, Flemish composers wrote operas set against the backdrop of those very same façades. A city opera is taking shape – created for, by and with the people of Ghent.

‘All before death is life’ is a playful, offbeat solo by Benjamin Verdonck,
directed by Jetse Batelaan. 
In a world where everything goes wrong, you don’t walk away.
You keep searching, singing, stumbling and starting again.

'asses.masses' is a custom-made video game about labour, technophobia and sharing the load of revolution, designed to be played from beginning to end in a live theatre. This is gaming as performance; an immersive, cheeky and highly original work. Brave spectators take turns at the controller to lead the herd through a post-Industrial society, where asses are valued more for their hides than their potential.

Confronting automation driven job loss, nostalgia as a barrier to progress, and the role of technology in adaptation, we are encouraged to find space between the work that defines us and the play that frees us. 

'asses.masses' is Animal Farm meets Pokémon meets Final Fantasy: as exciting in form as it is in content. No previous gaming (or donkey) experience required.

In ‘Something is Approaching’, Carolina Mendonça explores violence from a new angle: not the blow itself, but what lingers afterward and how it settles in the body. What if our muscles carry not only trauma, but also the power to strike back?

For the first time, performance powerhouses Sophía Rodríguez and Teresa Vittucci join forces on stage to transform suppressed female rage into something powerful and liberating. In a surreal corporate landscape, two angelic figures “process” human anger, singing in otherworldly tongues and inviting reflection on what smolders beneath the surface. A disorienting yet comforting experience, like a deep massage.

In ‘Repertório N.1’, Brazilian artists Davi Pontes and Wallace Ferreira explore dance as a form of self-defense. Stripped bare, without music, and guided only by the rhythm of their shoes, they unfold a vulnerable choreography inspired by subtle gestures of recognition and safety within Rio’s Black and queer communities. 

‘DE SITCOM’ is a fractured tragicomedy in which actors turn their own messy lives into punchlines. At the same time, it pulls back the curtain on the making of the show, including loves, breakups, distrust, tentative reconciliations, betrayals and the ever-present hope that, somehow, it might all work out. Always hoping for a happy ending.

INZOZI ZANJYE, “my dreams” in Kinyarwanda, is a multidisciplinary performance, situated between concert, dance and theater, unfolding as a journey through the landscapes of Dushime’s existence. As an artist of Rwandan descent living in Belgium, Dushime has moved between two worlds, never fully landing in either. This in-betweenness created a deep need to understand where she belongs. Through that search, she experienced feelings of displacement and alienation, creating a burden that sometimes felt greater than her own life.

In this piece, Dushime travels through the chambers lying within her: her memories, her longing, her grief, her joy. She finds herself in a dreamscape, a space between the self and the soul, where familiar narratives dissolve and time deconstructs into a non-linear reality.

In ‘injuries & remedies’, Simon Baetens and Micha Goldberg relentlessly question each other about pain, doubt and who they really are. Are we witnesses to an artistic aftertalk? An interview? A therapy session? Driven to keep digging, they create a sharp, intimate game of reflection, blending dark humor and carefully crafted self-criticism with raw, unfiltered confessions. Recognisable situations and elusive dream-like images gradually bleed into one another.

In 1983, Anne Teresa De Keersmaeker broke through internationally with ‘Rosas danst Rosas’, a landmark of postmodern dance. Abstract movement meets subtle, everyday gestures in a charged play of repetition and intensity. Over 500 performances later, a new (fifth!) cast brings this iconic work back. Raw, precise and irresistibly energetic.

‘Hoe zeg je “kom terug”?’ is a layered documentary performance set in Morocco’s Rif region, where migration and tourism intersect. Hannah Zaouad explores what it means to step onto land that is both home and destination. With a sharp yet gentle voice, they unravel tensions between memory, inheritance, and the touristic industry.

In ‘Nimble’, nine dancers form a contemporary corps de ballet, exploring the power of collective rhythm. Constantly in motion, they navigate the space between individual and group. Their movements generate a splendid soundscape, blurring the line between dancer and musician. The result is a pulsing choreography where movement and music drive each other forward.

In ‘My Fierce Ignorant Step’, Christos Papadopoulos celebrates life. Ten dancers weave memory, sound, and movement into a pulsing, ecstatic whole. Inspired by the music and energy of youth, the performance turns into a hypnotic, optimistic ode to the magic of first encounters and the exhilaration of beginnings.

The solo ‘Silver Plate’ dives into a mind, letting thoughts unravel across the space. Drawing on Sylvia Plath’s diaries and novel, Lucie Plasschaert and Jesse Vandamme create a radical, poetic exploration of what it feels like to think today. ‘Silver Plate’ is not an adaptation, but a theatrical collision with Sylvia Plath’s entangled voice, where dialogue becomes a possible response to isolation. 

Inspired by Rainer Werner Fassbinder’s dark, theatrical imagery, Louis Janssens weaves a cinematic mosaic of desire, memory and passion. In ‘Amour’, seven queer performers move as one, shifting fluidly between male, female and in-between, telling a universal story of love, loss and connection.

In ‘Ch'ttahh’ (Arabic for dancer), Bilal El Had returns to the Moroccan chaabi, the popular dance and folk music synonymous with weddings, family gatherings, and street festivities. Drawing on his experience with companies like Rosas, El Had weaves the ancient rhythms and gestures of his upbringing with a contemporary movement language.

Chaabi carries a history of men pushing gender boundaries. Balancing tribute and innovation, humor and critique, ‘Ch’ttahh’ connects the power of the present with a tender gaze at the traditions that came before.

Julia Masli creates a life-affirming, hilarious, deeply touching, often described as a transcendent experience, absurd yet profound, magical, mysterious, elevated clowning, and a cathartic experience of collective joy. It restores hope in humanity. People laugh and cry, often at the same time. It’s in a genre of its own; there’s really nothing like it. Strong “you had to be there”/“you have had to experience it”/“can’t be explained” energy.

In the 1980s, a wave of radical dance innovators emerged from the triangular relationship between Brussels, Ghent and Antwerp. Anne Teresa De Keersmaeker, Wim Vandekeybus, Marc Vanrunxt, Alain Platel, Jan Fabre and many others gradually made their way into Belgian theatres with their unconventional performances. In no time at all, they also swept across the Netherlands, Europe and the rest of the world.

That ‘Flemish Wave’ has profoundly influenced the way we watch and dance, as is now apparent, some forty years later. In ‘A Wave’, choreographer Zoë Demoustier takes stock.

With some fifteen dancers – from Opera Ballet Vlaanderen, joined by young people, a dancer from Platform K and iconic dancers who created the pieces of yesteryear – she deconstructs monumental scenes from the 1980s and 1990s with an eye to the future. Together, they explore what should be passed on and what could do with an update.

But above all: how references can be a source of joy in dance – rather than a straitjacket – and, who knows, a new wave.

Nona Demey Gallagher creates a satirical world of grotesque figures where politics, pop culture and madness collide. Inspired by Kathy Acker’s cult novel ‘Don Quixote, which was a dream’ (1986) she transforms the classic quest into a wild search for love and meaning. Expect a vibrant, unsettling performance with live music, extravagant costumes and razor-sharp text.

‘La Parabole du seum [Parable of the sour]’ is a sharp, unsettling parable about surviving on society’s margins. With biting humor and poetic force, Rébecca Chaillon weaves ritual, belief, and sci-fi into a collective experience of rage, resilience, and resistance.

The Austrian composer Franz Schubert died at a young age but left behind an extensive body of work, including more than 600 Lieder. Shortly before his death, he composed his famous ‘Winterreise’.

In a cycle of 24 songs for voice and piano, we follow a wanderer on his solitary journey through a winter landscape, alienated from the world and wrestling with his existence. The leading American choreographer Trajal Harrell has long been exploring the relationship between dancing and walking.

Drawing on queer subcultures from the ballroom scene and styles such as vogueing, he invariably has his dancers parade down a catwalk – as is the case in ‘Winterreise’. To the music of Schubert, Harrell choreographs a fashion show presenting a collection of winter coats.

For the first time in his career, he is working with dancers from a ballet company for this project. How do they relate to the universe through which their catwalk takes them? And what is going on beneath the fashionable winter coats?

For over thirty years, Beherit has reigned as the most enigmatic entity in the black metal pantheon. Like a raven-black Sun King, they dominated the 1990s, casting a long, innovative shadow over the global extreme metal landscape. Though their name once graced a Belgian poster in the past, the stage remained empty, until now. VIERNULVIER, De Pankraker and Only Death Is Real are coming together to write history. For the first time ever, the Finnish pioneers will set foot on Belgian soil. 

A Legacy of Audacity 

Founded in Rovaniemi in 1989 by Marko Laiho (Nuclear Holocausto Vengeance) alongside Jari Vaarala(Demonic Fornication) and Jari Pirinen (Sodomatic Slaughter), Beherit emerged from the frozen Finnish underground with a singular ambition: to push extreme metal beyond its known limits. 

Their journey is one of restless evolution. The primitive roots: raw, uncompromising early demos that defined the genre's ferocity. The masterpiece: The 1993 album Drawing Down the Moon remains the epitome of black metal. A testament to the fact that "the" black metal sound does not exist. It is a genre defined by its refusal to be molded, constantly swaying between radical innovation and dark tradition. The atmospheric shift: Mid-90s experimentation that proved Beherit’s artistic independence. 

The Ritual Begins 

Beherit has maintained a reputation for intensity and absolute creative freedom. From their early chaos to the atmospheric depths of their modern-era revival, their discography has left an indelible imprint on the world. 

“Black metal is not a mold; it is a movement that navigates the void between renewal and tradition." Prepare yourself for a monumental event. The wait of three decades is over. 

On September 5, the Ghent-based collective GHOST will once again set up shop near Wintercircus and De Krook for a new nomadic carnival. Starting at 11 p.m., the revelry will move to Club Wintercircus, where the night really gets started. Be warned: the theme is “Fire Walk With Me.”

Moor Mother is performing a duo set with cellist Mathis Mayr. Camae Ayewa moves between poetry, sound and research, revealing how colonial histories continue to resonate in the present. Her latest album, The Great Bailout, takes its cue from the British compensation for slavery: a government loan, paid off by 2015, which compensated slave owners rather than victims. Voice and cello come together without a fixed division of roles: text, tone and noise creating tension in real time.

The ensemble Razen takes sound itself as its starting point. Their latest album, Stained Glass Starling (VIERNULVIER Records), recorded in a living room and largely in a single take, presents music in its most concentrated form. Brecht Ameel, Kim Delcour and Dick van der Harst, together with Berlinde Deman and Paul Garriau, construct a soundscape much like a painter works: layer by layer, with attention to tension, texture and nuance. A wide range of instruments, including the erhu and the Javanese kacapi, subtly shifts the soundscape. 

The last time we saw Pitou was in a church in Groningen, the Netherlands. She was performing there at the international Eurosonic Noorderslag festival to present her latest album, ‘P2’. We actually thought that was a bit odd, because her star has been on the rise for some time now. She owes this mainly to her infectious mix of folk-inspired, spellbinding vocals set to music that shifts between acoustic and electronic sounds. Not to mention her stage presence. ‘We’d love to have her on our stage again,’ we said at the time, and so it shall be.

Pitou found acclaim in 2023 with her record Big Tear, earning places in the end of the year lists (‘One of the most beautiful contemporary indie-pop records of this moment.’ – Madame Figaro, FR, ‘a world class record’ – Volkskrant, NL). In P2, released in March 2026, she’s running free, both emotionally and creatively. It’s a carousel ride brimming with life: mania, euphoria, independence and melancholy all make their way to the dancefloor. 

Her very specific musical background – singing in a classical children’s choir and traveling with her parents – taking home cassette tapes of Malinese, Senegalese and Indian music artists – led to her own recognizable musical universe, where her signature voice, unique melodies and chord progressions go hand in hand with intuitive and poetic lyrics.

From the cacaphonous lead single “Too Good To Go”, the ethereal “Pirate” and “Morning Star”, the majestic “Restlessness” and the manic “To Do What”, P2 is by turns mesmerising and intimate, then infectiously exhilarating. Come and let yourself be carried away.

Get ready for an exclusive double bill featuring two of the most captivating acts on the Belgian alternative scene: Niels Orens and TJE. Together, they’ll take over Club Wintercircus for an evening that walks a fine line between raw emotion and pulsating electronica. Both acts previously performed at De Koer, now they’re back to sweep Club Wintercircus off its feet.

The evening opens with electronic producer and live performer Niels Orens. Known for his boundary-pushing soundscapes, Orens seamlessly morphs acoustic instruments with analogue synthesis and deep breakbeats. With his recent Never Again EP in hand, he translates themes of isolation and melancholy into a physical, immersive live experience. Expect a spellbinding journey that fluctuates between fragile, introspective silences and intense, cavernous basslines.

Following him is TJE, the Belgian trio rapidly ascending toward an international breakthrough after their podium finish at Humo’s Rock Rally and a standout festival summer (including Best Kept Secret and Lokerse Feesten). Armed with their brand-new debut album SCHADE—hailed by critics as the must-watch record of the year—TJE delivers an elusive melting pot of melancholic avant-pop, experimental post-rock, and pulsing electronics. Frontwoman Lindy Versyck captivates the audience with her voice (reminiscent of a dreamy yet menacing Björk), backed by a wall of hypnotic bass and guitar lines.

Two acts that each, in their own way, explore the tension between raw intensity and profound vulnerability.

After its first spring edition, Lippstick is back in Club Wintercircus. Building on the legendary Sound of C parties and the closing parties of the Film Festival with the Lippstick DJs, Club Wintercircus is transformed into a unique universe of fun. Hits & Tits and Lizzy & Tati spin the tunes. Louis Verlinden, Griet Keersmaekers and guests provide the necessary chaos.

“Time of the Heathen” (1961) is a long-lost cinematic gem by theatre director Peter Kass. A poetic, surreal indictment of war violence, the nuclear arms race, and the devastating impact of racism. What begins as a rural noir with a typical “wrong man” in the lead gradually tilts into a chilling, proto-psychedelic trip. The film unfolds less as a classic narrative and more as a visual eruption, in which its critique of the consequences of disruptive American foreign policy and war logic lands like a grenade.

With hardly any dialogue and a strong emphasis on image and rhythm, a feverish allegory emerges in which communication fails and meaning constantly shifts. The result is an intriguing, at times alienating viewing experience that compels the viewer to draw their own connections—in a universe where silence speaks louder than words. Time of the Heathen thus becomes a visionary reflection on racial tensions and the post-nuclear trauma of postwar America. Cinematography and editing are by the legendary experimental filmmaker Ed Emshwiller, who is also responsible for the 20-minute dream sequence at the end.

“When in doubt, yes.”
With this phrase, Alabaster DePlume effortlessly won over a Ghent audience during his memorable appearance at the Theresia concerts a few years ago. The London-based saxophonist, singer, composer, and poet operates at the intersection of spiritual jazz, folk, and spoken word. His music is carried by warm, repetitive motifs and an open, intuitive playing style that can be both comforting and confrontational.

He broke through with To Cy & Lee: Instrumentals Vol. 1 (2020) (which may be known for the now-legendary “Be Nice To People”), followed by the critically acclaimed Gold: Go Forward In The Courage Of Your Love (2022), and later releases such as Come With Fierce Grace (2024) and A Blade Because A Blade Is Whole (2025). He has also collaborated with artists such as Bon Iver, Kamasi Washington, and Sampha.

For Time of the Heathen, DePlume composes a new live soundtrack in dialogue with the images—and with the silence that is so characteristic of the film.

About dj G2G

dj g2g (she/they) is a Danish-Uruguayan artist, producer, and DJ. Constantly touring the world, she has ignited dance floors in the most vital clubs in cities like Taipei, London, Los Angeles, Mexico City, Medellín, Naarm, Shanghai, and more. 

dj g2g is known for her distinct signature sound that draws from popular internet culture, creating genre-bending hybrids that defy traditional boundaries. Her intricate productions splice together hardstyle, cumbia, deconstructed club, nightcore, jersey, dubstep, and more, forming a high-energy, unpredictable sonic experience. 

She has collaborated with artists like Ninajirachi, Six Sex, Erika De Casier, Lila Sky, and Safety Trance, while also composing soundtracks for documentaries and fashion shows, including projects for Raga Malak, Dion Lee, and Masculina. Moving between music, fashion, and performance, dj g2g builds worlds that celebrate defiance, community, and radical self-expression, a vision that’s earned features in Vogue, Office Magazine, Resident Advisor and Dazed 100 2025 list.

Videodroom dives deep into the world of horror and video nasties with a unique screening of the cult horror classic ‘The Evil Dead’ (1981), featuring Joe LoDuca’s iconic soundtrack performed completely live by BL!NDMAN.

In Sam Raimi’s legendary low-budget debut, five students travel to a deserted cabin deep in the woods. When they play a dusty tape recording, they unwittingly unleash ancient demonic forces that turn them into bloodthirsty monsters one by one. What follows is a feverish symphony of buzzing chainsaws, aggressive shrubbery, and a relentless torrent of gore and blood. The film's inventive special effects, over-the-top gore, kinetic camerawork, and pitch-black humor instantly turned it into a worldwide sensation.

The then 20-year-old Raimi shot this horror masterpiece with a handful of friends and a microscopic budget of $375,000. Driven by a wildly successful VHS release, the film grew into a multi-million-dollar hit. It launched a massive franchise, turned lead actor Bruce Campbell into a cult icon, and kickstarted Raimi’s impressive directorial career (Spider-Man, Darkman). While later sequels leaned heavily into horror-comedy, the original remains a grim, high-octane fairy tale of terror that tears ahead at a breakneck pace. For many, it stands as the absolute pinnacle of the franchise and one of the greatest horror films ever made, tout court.

Videodroom 2026 kicks off with an extraordinary cinematic experience. To mark the 20th anniversary of Kelly Reichardt’s Old Joy, we present a special screening of this melancholic indie masterpiece featuring a world-exclusive live score. For one night only, acclaimed harpist Mary Lattimore will transform the film’s atmosphere, replacing the original soundtrack with her ethereal and meditative harp compositions.

Old Joy follows two old friends—played by Daniel London and iconic singer-songwriter Will Oldham (aka Bonnie ‘Prince’ Billy)—who have drifted apart over the years, as they embark on a camping trip. Along the way, they drink beer, shoot at tin cans, and share long, meaningful silences. While little happens on the surface, a beautiful and poetic portrait of a strained friendship, broken dreams, and long-faded pasts unfolds between the lines. With this bittersweet sketch, Reichardt placed herself at the forefront of American independent cinema, creating a film that resonates long after the final frame and continues to provoke reflection.

Through renowned films such as "Meek’s Cutoff" and "First Cow"—always produced on limited budgets, filmed on location, and devoid of blockbuster stars—Reichardt has emerged as one of the most prominent American directors of the past two decades.

For one night only, the original soundtrack of Old Joy by indie darlings Yo La Tengo will be tucked away, replaced by the intimate sounds of Mary Lattimore. Since her 2013 debut The Redrawing Room, she has become a mainstay of the American experimental folk scene. Her impressive list of collaborators includes artists such as Kurt Vile, Meg Baird, Harold Budd, Thurston Moore, Sharon Van Etten, Jarvis Cocker, Steve Gunn, Julianna Barwick, and Fursaxa.

Her music shifts seamlessly from delicate and dreamy to complex and overwhelming. A virtuous musician, Lattimore masterfully juggles countless effect pedals live, yet can just as easily make her harp—stripped of all electronics—sing like no other.

Videodroom welcomes Icelandic indiepop experimentalists mùm to rescore the quietly beautiful Canadian cult classic ‘La Vie Revée’. They will be joined on stage by a long time friend; composer and celliste Hildur Guðnadóttir.

After starting a new job at a local film production company, Isabelle (Liliane Lemaître-Auger) befriends animator Virginie (Véronique Le Flaguais). As the two young women navigate love, work, politics, and the endless search for the perfect partner, they gradually discover that reality rarely lives up to fantasy. Set during a sun-drenched Montreal summer, La vie rêvée is a tender portrait of female friendship and youthful idealism.

Rather than following a conventional plot, director Mireille Dansereau captures a particular time and place with remarkable warmth and intimacy. Shot on grainy 16mm, the film has the texture of a home movie, while its playful, collage-like editing blurs the boundaries between dreams and everyday life. Often compared to the work of Agnès Varda, La vie rêvée is both a landmark of Canadian cinema—the first feature directed by a woman in Quebec—and a long-overlooked gem ready to be rediscovered.

Few bands are better suited to its delicate atmosphere than múm. Since emerging from Reykjavík in the late 1990s, the ever-evolving collective has crafted a singular sound world where gentle melodies, fragile vocals, glitch electronics, found sounds, and acoustic instruments coexist in perfect balance. Across seven acclaimed albums, numerous collaborations, and film and theatre scores, múm has become one of Iceland's most beloved and influential musical acts.

For this special performance, the band is joined by acclaimed composer and cellist Hildur Guðnadóttir, whose longstanding artistic relationship with múm dates back to the group's early years. Since then, Guðnadóttir has become one of contemporary cinema's most celebrated composers, earning Academy, Grammy, Golden Globe and Emmy Awards for her scores to Joker and Chernobyl, alongside acclaimed work for films including TÁR and Sicario: Day of the Soldado.

Created exclusively for Videodroom, this unique performance brings together one of Iceland's most adventurous bands, one of today's leading film composers, and a quietly extraordinary film that deserves to be experienced anew.

Giggles and gore on eight legs: legendary avant-noise duo Wolf Eyes takes on the pitch-black horror comedy 'Spider Baby' at Videodroom. A downright camp classic and without a doubt one of the strangest cult films of the 1960s.

'Spider Baby'—also known as 'Cannibal Orgy' and 'The Maddest Story Ever Told'—from 1967 is a bizarre piece of exploitation cinema. Too intense to be a true comedy but too 'cutesy' to be pure horror, it hovers somewhere between 'The Addams Family' and 'The Texas Chainsaw Massacre'. A cartoonish slice of grindhouse that revels in its own contrarian nature and twisted anarchy. Who else but Wolf Eyes would want to provide this film with a brand-new score?

Wolf Eyes (John Olson and Nate Young) formed in Michigan in 1998 and are known for their unique & uncompromising sound: putting noise, industrial, free jazz, and avant-garde into a blender, resulting in hypnotic and unpredictable performances that are intense from start to finish. With countless releases on vinyl, CDR, and cassette, they are one of the most active and inspiring experimental acts of the past 25 years.

The story: In a dilapidated mansion, the last descendants of the Merrye family live in complete anarchy. Due to a genetic disease, they have regressed into a childlike state, giving in to cannibalism and homicidal urges. The youngest daughter, Virginia (Jill Banner), believes she is a human spider and creeps through the house looking for prey. Meanwhile, the eldest son, Ralphie (played by cult actor Sid Haig), hunts stray cats to serve for dinner. The orphans are cared for (and kept in check) by chauffeur and butler Bruno (a brilliant role for horror icon Lon Chaney Jr.). When a few distant relatives and their lawyer unexpectedly visit with their eyes on the inheritance, all hell—naturally—breaks loose.

'Spider Baby' was the brainchild of cult director Jack Hill—famous for blaxploitation and camp classics like 'Coffy', 'Foxy Brown', and 'Switchblade Sisters', and affectionately described by Quentin Tarantino as 'the Howard Hawks of exploitation cinema'. The freaky performances by Sid Haig and others, the atmospheric black-and-white cinematography, and the pitch-black humor gave this low-budget schlocker a trompe-l'œil 'punk rock' vibe avant la lettre. No wonder it's one of John Waters' favorite movies.

'For anyone who has ever felt different or out of step with the world in general, Spider Baby will likely strike a chord, in addition to providing a unique horror experience, transcendent of the time period' – Cinematic Randomness

A dreamy arthouse vampire film from the early nineties—produced by David Lynch—receives a brand-new live score by ambient pop's rising star, more eaze.

Drawing inspiration from Dracula's Daughter (1936) and André Breton's surrealist novel Nadja (1928), director Michael Almereyda's acclaimed cult film follows the enigmatic vampire Nadja (Elina Löwensohn) as she returns to New York City to avenge her father Dracula's death at the hands of Dr. Van Helsing, played by sixties screen icon Peter Fonda.

After Dracula's death—represented by a repurposed shot of Bela Lugosi from the 1932 film White Zombie—Nadja arrives at a Manhattan morgue to collect his body. She slips effortlessly into the city's nocturnal hipster scene, spending her nights drinking coffee, smoking cigarettes, wandering downtown bars, and engaging in deadpan philosophical conversations. Meanwhile, the eccentric Dr. Van Helsing relentlessly pursues Dracula's daughter through the streets of New York.

Visually, Nadja is as distinctive as its story. Almereyda combines luminous black-and-white 35mm cinematography with haunting Pixelvision footage shot on a Fisher-Price toy camera, creating a dreamlike, low-fi aesthetic unlike anything else. More interested in atmosphere than conventional horror, the film replaces gore and jump scares with melancholy, emotional unease, dry humour, and a hypnotic sense of mystery. It is as much a portrait of early 1990s downtown New York as it is a vampire film, evoking the worlds of Jim Jarmusch, Hal Hartley, and David Lynch.

Equally difficult to categorize is more eaze, the project of Brooklyn-based sound artist and multi-instrumentalist Mari Maurice. Blending ambient pop, folk, musique concrète, and experimental electronics, Maurice transforms everyday sounds and acoustic instrumentation into richly textured, emotionally resonant compositions. Exploring themes of intimacy, longing, memory, and transformation, more eaze has become one of the most exciting voices in contemporary experimental music, with releases on Thrill Jockey, Leaving Records, Longform Editions, Ecstatic, Orange Milk, and 15 Love. As a string arranger, pedal steel player, and producer, Maurice has also collaborated with artists including Claire Rousay, Lomelda, Space Afrika, Martha Skye Murphy, Water Damage, Fashion Club, Rainy Miller, and Nick Zanca.

For Videodroom, more eaze brings a new musical interpretation to this haunting cult classic, creating a unique encounter between adventurous cinema and contemporary experimental sound.

Gruesome movie violence meets the pounding percussion and harsh noise of NAH. His brand-new live score catapults the 1974 grindhouse classic ‘The Street Fighter’ straight into the 21st century. An overwhelming, uncompromising martial arts extravaganza.

‘The Streetfighter’ is notorious. It was the first film ever to receive an X-rating in the US solely for its intense violence and gore. At the same time, it marked the absolute breakthrough for legendary Japanese martial artist Sonny Chiba. The film spawned two direct sequels and laid the groundwork for the iconic arcade game of the same name.

Riding the wave of Bruce Lee’s ‘Enter The Dragon’, the so-called "exploitation" and "grindhouse" cinema had reached its absolute peak. The world was ready for Chiba’s raw brand of action. Yet, Chiba was no cheap Bruce Lee clone looking to cash in on a trend. Where Lee shines in elegance and Jackie Chan excels in comic playfulness, Chiba rules with pure, unrestrained, barbaric fury. The moment his character Terry Tsurugi cuts loose, nobody is safe—neither his enemies nor the bystanders. When another character calls him "an animal" mid-film, Chiba, snarling and growling, does absolutely nothing to contradict her.

Pure, Animalistic Fury
It is exactly this ruthless ferocity that cemented the film’s cult status. Think of scenes where Chiba castrates a rapist with his bare hands, or where a single blow cuts directly to an X-ray shot of a shattering skull before the opponent collapses, blood gushing from his mouth. The tone is set.

The plot? A textbook cocktail of honor, revenge, and betrayal, settled entirely with fists and feet. Chiba plays Terry Tsurugi: a cynical assassin-for-hire who cares only for sex, money, and fighting. He is hired to break a condemned martial arts master out of prison. When his demands for a higher fee are denied, he coldly abandons the job. But after the Yakuza and the Hong Kong mafia kidnap the condemned man's sister, Tsurugi gets dragged into a bloody gang war anyway.

About NAH
The heavy task of providing this skull-crushing action classic with a fresh live score belongs to an artist whose love for obscure horror and B-movies bleeds through every single track.

NAH (aka Michul Kuun) is a Philadelphia-born, Antwerp-based percussionist, producer, and visual artist. Since dropping his first demos in 2011, he has been carving out his own hyper-dynamic sound from textured noise and genre-smashing percussive rhythms. His roots? Deeply planted in DIY punk, noise, avant-jazz, electronics, and the restless urgency of hip-hop.

Armed with little more than a drum kit and an arsenal of samplers, he channels a frenetic live energy that teeters on the razor-thin edge of raw aggression and playful chaos. In recent years, alongside producing his own work, he has collaborated with heavyweights like Wiki, MIKE, Moor Mother, Iggor Cavalera, Evicshen, Cities Aviv, and Obongjayar.

For more than a decade, Rise And Fall carved out a reputation as one of Europe's most uncompromising hardcore bands. Deliberate, intense, and unmistakably their own. Formed in Ghent in the early 2000s, the band built their name through constant touring and a steady run of releases: four albums and four EPs, largely issued by Deathwish Inc., the label founded by J. Bannon of Converge.

In late 2012, the band stepped away from live shows. There was no formal breakup, no final show, no drama. Just a break that ended up lasting far longer than expected.

Fourteen years later, Rise And Fall return to the stage for the first time. In the years between, the members never stopped creating, remaining active in bands such as Wiegedood, Oathbreaker, Raw Peace, Wrong Man, Force, Crouch, Blind To Faith and Living Gate. 

Rise And Fall never officially ended; they simply went quiet. On November 7th, that quiet comes to a close.

On Saturday November 7, 2026, Mo' Juice and Curfew join forces once again for a special night at Club Wintercircus. 

For this occasion, they found the perfect headliner in Kamma & Masalo (NL). Rooted in Amsterdam’s eclectic club tradition, the duo embody a shared love for old school house and disco — always delivered with a fresh, contemporary edge. Expect warmth, groove and euphoric peaks, carried by their unmistakable back-to-back chemistry.

Closing the night is Forbidden Fruit with a fully improvised live set — performed in the middle of the dance floor. Surrounded by the crowd and armed with his analog machines, he will build acid lines, electro rhythms and boogie-infused grooves entirely in real time. No playback, no script — just raw hardware energy guiding the room into its final collective release.

Setting the tone from 23:00 onwards are Mo' Juice residents Mo Disko & Nico Juice. As the architects of the night, they take care of the warm-up — laying down deep, soulful foundations and gradually lifting the temperature before handing the floor.

3D/AV Live is Max Cooper's immersive audio-visual performance system. Customized to every venue, making every show a unique experience, Cooper works in harmony with architecture and space to deliver a signature blend of scientific and human stories. These narratives move off the screen to wrap the audience in sculptures of light and sound.

This evening in Club Wintercircus showcases Max’s latest album, Feeling Is Structure, plus material spanning his celebrated catalogue and new compositions that continue his exploration of the human experience through music.

Drawing on an extensive portfolio of conceptual projects, the performance is curated specifically for the acoustics of Club Wintercircus. Cooper seamlessly traverses the space between ambient classical and driving techno, utilizing his rich library of genre-spanning content. 3D/AV tells the story of the foundations of our world, and our place within it, as a visceral, living experience.

And if one night of Max Cooper isn't enough, you can catch him again the following day for a DJ set at Club Wintercircus.

While the live performance revolves around the fusion of human stories and spatial structures, this nighttime set provides space for a more relaxed, yet equally thoughtful dialogue with the dance floor.

With three albums, three EPs and an impressive concert film (inspired by Salvador Dalí), Live at Les Diners de Gala, to her credit, alongside a wide range of composition and production work for various series, films and adverts, Tsar B has really made a name for herself. Her music is a unique blend of her diverse talents and interests; both her love of Baroque music and influences from R&B and electronic music are reflected in her body of work. Think of a trippy Mozart composing the soundtrack for The Matrix. 

Following her self-titled debut EP Tsar B (2016), the critically acclaimed debut album The Games I Play (2018), the EP Unpaintable (2020) and the album to the stars (2023), Bourgeus has collaborated with artists such as Alexander Chung, Oscar and The Wolf and Nova Twins. With her third album The Writer (2026), she opens a new chapter. Inspired by David Lynch, among others, Tsar B once again explores the boundaries between music and imagination. Some call her the Belgian ROSALÍA, but come and judge for yourself.  

Since their formation in 2007, the French quartet Lost in Kyiv are known for their cinematic, atmospheric and deeply emotional soundscapes. The band combines the melancholic dynamics of traditional post-rock with abrasive post-metal guitars, heavy synths and spoken-word samples. Their music feels like the soundtrack to an intense film, in which they explore the boundary between mechanical electronics and raw, human emotion.

In 2026, the band returns with We’re All Going to Be Fine. This fifth album marks a symbolic new chapter, as the band officially changes its name from Lost in Kiev to Lost in Kyiv. Driven by the energy of a revamped line-up, the band embraces a heavier, sharper and more modern sound, rawer and more direct than ever before.

We’re All Going to Be Fine moves away from the social themes of previous albums and turns its gaze inwards instead. It delves into the fragile tension between hope and doom, and the growing disconnection in modern life: from ourselves and from one another. 

By fusing their cinematic post-rock roots with a crushing post-metal intensity, Lost in Kyiv no longer observe the world from a distance; they confront it head-on, and they will do so in Ghent on 24 November at Club Wintercircus.

The unpredictable British musician Joe Jackson has a lot in store for 2026. His new album “Hope and Fury” will be released on 10 April, followed by a major international tour with no fewer than three performances in Belgium. Together with his band, he will present the new album on 24 November at De Vooruit.

With “Hope and Fury”, which he himself describes as “Bicoastal LatinJazzFunkRock”, Jackson returns to the present and to his familiar musical playing field with nine energetic songs. After laying the foundation for the album in Berlin, Jackson returned to Reservoir Studios in New York with co-producer Patrick Dillett. There he was reunited with his regular musicians: bassist Graham Maby, guitarist Teddy Kumpel and drummer Doug Yowell. Newcomer Paulo Stagnaro, a Peruvian percussionist, adds a Latin American touch to the mix.

The result is reminiscent of a cross between “Fool” (2019), “Laughter and Lust” (1991) and “Night and Day” (1982). Like these classics, “Hope and Fury” is full of catchy melodies, original lyrics, characteristic humour and funky grooves, with vocals and keyboards that are more powerful than ever. Don't miss this opportunity to discover “Hope and Fury” live at De Vooruit!

Pongo is an Angolan singer, songwriter and performer, widely recognised as one of the most distinctive voices of the new generation of global contemporary music. Born in Luanda and based in Lisbon since the age of eight, after emigrating as a child, her journey reflects a strong connection between identity, culture and resilience.

At 16, as the vocalist of Buraka Som Sistema, she gained international recognition by writing and performing the hit “Kalemba (Wegue Wegue)”, her striking voice driving her global breakthrough and cementing her connection to the worlds of kuduro and electronic music.

STICKS & STONES is the unique audiovisual concept by Ghent-based DJ and producer Primate. This ninety-minute show sheds light on the story of a young creative. It explores how a notebook full of drawings, shapes and stories can lead to a career featuring shows and fans all over the world.

For Primate – real name Marcel Matheussen – his first headline show at Club Wintercircus is a full-circle moment. Having lived in Ghent his whole life, he has deep ties to the city, and with sold-out birthday bashes and successful pop-ups in the past, this AV show – exclusive to Belgium – is the icing on the cake.

With Nausca, Mathijs Bertel (known from Ansatz der Maschine) is taking a completely new direction: one where music, visuals and narrative merge into a total experience. On 10 December, he will present his debut at Club Wintercircus with an exclusive audiovisual show, built around 360° visuals and immersive sound that you don’t just hear, but truly feel.

At the heart of the show is The Story of Lung-ta, a film concert that follows the story of a girl who washes ashore in a mysterious world and tries to understand how everything is connected. Along the way, she is accompanied by ‘windhorses’, symbolic horses that refer to Tibetan prayer flags and the power of nature. What begins as a fairy-tale journey of discovery grows into a reflection on biodiversity, our relationship with nature and just how fragile that balance actually is.

Live, this story is brought to life by four musicians playing a wide array of instruments, from harp and strings to electronics and more unusual sounds such as the guzheng, nyckelharpa and yayli tanbur. This music is interwoven with film footage, animation and graphic elements to create a total experience that balances somewhere between concert, film and installation.

Al meer dan drieëndertig jaar doet De Mens waar ze goed in zijn: rake songs maken die blijven hangen. Ze zakken om de vijf-zes jaar af naar de talrijke mooie theaters en cultuurzalen die ons land rijk is. Nu doen ze dat wegens groot succes opnieuw! Met De Mens Late Night trekken ze opnieuw rond, strak in het pak, cosy talkshow vibes, sterke verhalen en klassiekers als ‘Irene’ en ‘Dit Is Mijn Huis’ die nog altijd even goed werken als toen.

Verwacht staande ovaties en gewoon een heel goeie avond, met stemmige belichting, een comfortabele zetel en sterke babbels rond de nu eens intiem, dan weer swingend gebrachte songs uit het eigen, rijke repertoire. De Mens is sowieso een band met een dwingend verhaal, dat ook het verhaal van zijn publiek is. Dat wordt in De Mens Late Night op een stijlvolle manier verteld. Een must voor elke De Mens-fan/muzikale fijnproever.