Denise Vindevogel

Just before twilight, a small plane lands on the runway of a country airport. One passenger disembarks: Joe, the last survivor of a Jewish family, the Falsches. He has an appointment with them all tonight, forty years after leaving Berlin for New York in 1938. The Falsches are all waiting for him in the arrival lounge: those who perished in the concentration camps; those who left with Joe in 1938; and those who returned to Berlin after the war. Lilli, a young German woman, is there too; she is the daughter of a Nazi official, who was the love of Joe's youth, and who died during the bombing of Berlin. For Joe, it is a night of encounters, of celebrations beyond life and death.

Three years after the wedding husband Richard starts to set up his wife, the teacher Marion, with his love and jealousy. He wants to have a baby too. Her best friend and the head of the school only see the nice husband. Antoine, the fiend's brother, is the only one believing her. Everyone else starts to believe that Marion is getting insane is about to become a mental case. Marion moves out, but it's not over. Richards terrorizes her and even starts to get violent. Her only solution is to move to Antoine but that doesn't make it only worse ...

Pregnant girl in trouble teams up with a young boy to find the mother of the boy.

Africa in the sixties. The Nile perch, a ravenous predator, is introduced into Lake Victoria as a scientific experiment, causing the extinction of many native species. Its meat is exported everywhere in exchange for weapons, creating a globalized evil alliance on the lake shores. An infernal nightmare in the real world that wipes out Darwin's Theory of Evolution.

Aging opera singer Joachim Dallayrac retires from the stage and retreats to the countryside to school two young singers. Although the rigorous training takes its toll on both teacher and students, there is plenty of time for relationships to develop between the three.

The documentary's legacy lies in its unapologetic fusion of agitprop and satire, a signature style of De Hert’s Fugitive Cinema collective. By juxtaposing Mandel’s economic theories with absurd military parades, the film exposes the contradictions of a society preparing for war while its social fabric decays. De Hert employs rapid montage, pop music, and street-level interviews to strip away the facade of state authority.Decades later, Le Filet Américain remains a vital historical document. It captures a specific era of Belgian polarization, marked by economic crises and the rise of the gendarmerie. The metaphor of the meat grinder endures as a powerful critique of how institutional systems compromise individual dignity for corporate profit.

This standard slice-of-life drama is about Dju Dibonga (Richard Courcet), a young man who leaves his home on Cabo Verde, an island of Portuguese dependency off the coast of Africa, to go to Luxembourg and search for his father. Far from his home village and unfamiliar with the large city, the young black man forms an unlikely friendship with a down-and-out white policeman whose only consolation in life is found at the bottom of a bottle. Their developing companionship forms the main focus of this movie directed by Pol Cruchten.

Three no-budget semi-professional filmmakers finally get their due in this witty but respectful documentary. Director Frederic Sojcher visits three fellow Belgian auteurs whose ambitions outstrip their budgets, or their recognition. Max Naveaux is a projectionist who decided to take a stab at making movies himself, putting together small-scale war films whose realism was heightened by the fact that the Belgian Ministry of Defense gave him permission to use real bullets for one of his movies. Schoolteacher Jacques Hardy has dabbled in creating film noir, costume horror, and comic-book adventures, most starring his friend Christian Vranken, who makes his living as a church caretaker and insists on casting approval for his female co-stars. And Jean-Jacques Rousseau is a self-styled surrealist whose commitment to obscurity is great enough that he insists on being interviewed while wearing a ski mask.