Brussels, 2016 is framed as a letter to artist Sara Sejin Chang’s unknown mother in South Korea. Set in the months following the Brussels bombings of March 2016, and just before the “Brexit” referendum, Chang’s film captures the city of Brussels at a vulnerable moment. Functioning as a portrait of the city, the film shows Brussels’ European institutions, WIELS, lush parks, as well as the various communities that intersect in Chang’s life: her fellow artists, her queer friendship group, and her Roma and Syrian refugee neighbours. Brussels appears as a series of parallel realities, brought together by Chang’s gaze.