A young Flemish peasant experiences the brutal side of war after his father has left to fight at the battle front of the Yser, his mother has been executed by German soldiers and his grandfather has been sent to an internment camp. He decides to take up arms and joins the Belgian army to avenge his mother’s death… (EFG) Continue reading
Sandra, a young Belgian mother, discovers that her workmates have opted for a significant pay bonus, in exchange for her dismissal. She has only one weekend to convince her colleagues to give up their bonuses so that she can keep her job.
‘La Promesse’ is the story of 15 year old Igor, who helps his small time crook father run a scam illegally employing immigrants on building sites. But when one of the workers is fatally injured, Igor promises to look after the man’s wife and child – a promise that changes Igor’s life forever. (ArtificialEye)
“The Promise” is the extraordinary story of a boy’s ascendance to grace. Under the conscienceless guidance of his father (Olivier Gourmet as Roger), fifteen-year old Igor appears destined to a life of petty crime. All changes, however, when Igor delivers an uncompromising promise to Hamidou – an immigrant who while working illegally for Roger accidentally falls to his death. As Roger scrambles to cover-up the accident, Igor suddenly finds himself torn between his loyalty to Roger and the agreement he made with Hamidou. Suspicious of Roger’s motivation and intimately drawn to the heart of his promise, Igor must choose between his love for his father and the demands of his awakening conscience. (New Yorker Video) Continue reading
Two minutes in which Carax attempts to reach the essence of Art : sculpture, Cinema, actress, music, gallery, myth…
a delicious mixture;
Godard influence is still here and will always be with Carax;
The short seems like the continuity of the movie Holy Motors, with always the small frontier between reality and Art. Continue reading
J. M. COETZEE’S ”In the Heart of the Country” (published here as ”From the Heart of the Country”) is written as a diary, in the fierce, scathing, half-mad voice of a woman living in near-isolation on a South African sheep farm. With its startling clarity and its paradoxically hallucinatory style, this brief 1977 novel would seem to be well out of any film maker’s reach.
But Marion Hansel, a Belgian director, has attempted to adapt it anyhow, and has done a job that is creditable if in some ways incomplete. The remote, barren setting for the story, on the veldt in Cape Province, has been hauntingly evoked (though the film was shot in Spain). And the characters, played by well-chosen, visually striking actors, are given life and stature.
Miss Hansel’s ”Dust,” which opens today at Film Forum 2, has a handsome look that manages, in the manner of the great American westerns, to be both classical and wild. If it lacks the surprise and complexity of Mr. Coetzee’s vision, and if its stillness sometimes borders on the becalmed, it nonetheless has a stark, streamlined manner and an underlying urgency. Continue reading
Some movies are watched. “The Strange Color Of Your Body’s Tears” is a movie you live inside. This new film from directors Helene Cattet and Bruno Forzani touches you repeatedly, inappropriately, from the front and, delightfully, from the rear. To synopsize the film is folly, though it will be fun to see viewers try. This is the magic that Cattet and Forzani have weaved from their debut effort “Amer,” a hypnotic trip down the giallo rabbit hole. Very few filmmakers today are working with a radical new vocabulary, but Cattet and Forzani are using genre of the past to toss us, shouting, into the future. Continue reading
Once a common medium to record home movies and holiday souvenirs, the memory of Super-8 film is now disappearing fast. Yaël André has recycled a wealth of random Super-8 footage into a fake biography, with a cheeky off-screen voice.
There are only two protagonists in this film, and both remain invisible. There is the narrator, who addresses us in a confidential tone. And there is ‘George’, his imaginary friend. But there are many more personae: the imagined lives of a an adventurer, a psychopath, a perfect mother, an accountant and an invisible man…
Although the film appears divided into short thematic chapters, its real strength lies in the associative flow that guides us along a surrealist chain of thoughts, hypotheses and dreams. In the images, the decades from the 1940s to the present day appear all mixed up.
Yaël André’s storyline and editing technique make us see these anonymous and quite generic home movies with a fresh eye, as if they were the first of their kind. The combination of text and images results in a bizarre meditation on truth and fiction, life and death, grief and joy. Continue reading