Joris Collet

Ostend, Belgium. In a decadent seaside hotel, Stefan and Valerie, a newlywed couple, meet the mysterious Countess Báthory and Ilona, her secretary.

When a ruthless businessman tries to blackmail a rival industrialist over the seduction of his daughter, Karin, the rival fights back. To protect his reputation, he hires a rebellious gang of Provos to take scandalous photographs of Karin to destroy her innocent image. However, inner-gang betrayal and unexpected romance soon turn the blackmail scheme upside down.

The young Isabelle escapes from the orphanage and she adopted by two chaps on a caravan. They then meet by chance the posh family of Louise- who runs away with the three adventurers when confronted with the reality of having to marry a Belgian with a large moustache and a bald head. They find a dog. Later Louisa degenerates into a minor moment of sexual hedonism and multiplexing with the two chaps before they are all overwhelmed by the Armageddon that was WWI.

In the heart of the Schipperskwartier, a grocery store and a café sit side by side, run by two inseparable friends, Jef and Rik. Rik, a widower, has three spirited children who can only be kept in line by Anneke, the ever-patient housekeeper. Wanting to see his friend happily remarried, Jef places an ad in the newspaper seeking potential brides. Two women respond, but Rik refuses to meet them himself. Undeterred, Jef takes it upon himself to investigate…

Smugglers try to ship their products via Pol Knol, a trader in medical products. Due to circumstances, the package remains on Mr Knol's desk. The smugglers think that Pol has deliberately withheld it. They come to pay him a "visit."

'Waar de vogelstjes hoesten' is a rare, satirical fable presented as a fantasy musical. The film tells the surreal love story of a flower girl and a scarecrow who leave their rural home for the big city. Upon arrival, they quickly become corrupted by industrial capitalism and victims of their own growing greed. Featuring unique choreography by Lydia Chagoll, this experimental production serves as a powerful artistic critique. It explicitly warns against the degradation of the environment and the spiritual pollution of modern human society.

An Antwerp journalist finds his daily life increasingly disrupted by unexplained phenomena, such as an authentic letter from 1919 that refers to an event taking place at a much later date. Because these disturbances are consistently linked to the name “Joachim Stiller,” the journalist becomes obsessed with it. The resolution, which is closely tied to his traumatic experiences from the Second World War, takes place with a psychiatrist—and later at an abandoned railway station in an Antwerp suburb. Interwoven with this is a subplot about an Antwerp art dealer who believes he can become rich through a new form of painting. To achieve this, he takes a mentally disabled artist hostage. The narrative also follows various romantic entanglements involving the journalist, which ultimately lead to his happy experience of fatherhood.

He's the "Rocky" of the 15th century-defender of the poor, enemy of evil, champion of justice. He's fearless and the strongest man in the land. He's ready and willing to take on all wrong doers-rich and poor. Accompanied by a lovable, meek little friend, his quest takes him on an unforgettable journey. Swamp monsters, knights in armor, duels, royal pageantry, and damsels in distress all abound in this story of timeless values. In the spirit of "Robin Hood," it's a robust, romantic tale: a feast for the eyes and a joy for the heart.