Brylcream Boulevard

Documentary exploring why Belgian television doesn't invest more money in Belgian cinema as is the case in e.g. the netherlands.

The Herts Camera Sutra or The Palefaces (1973) is a militant and visually fragmented critique of Belgian bourgeois society, blending documentary collage with semi-autobiographical fiction. De Hert attacks the distractions of nationalism, religion, and popular culture while exposing capitalism, social injustice, and postcolonial exploitation. The film’s second half shifts to a disillusioned group of rebellious youths, revealing the uncertainty and emotional paralysis behind revolutionary ideals. Both politically fierce and deeply self-questioning, the film captures the tension between radical ambition and powerlessness.

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street-level interviews to strip away the facade of state authority.Decades later, Le Filet Américain remains a vital historical document.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.

Recovering all of the intertitles of the Battleship Potemkin, Jean-Marie Buchet substitutes for the images of the film various views that he himself shot and which are unrelated to the initial work, thus joining the technique of diversion widely recommended and applied by the Situationists.

Robbe de Hert’s Henri Storck, ooggetuige (1986) is a brilliant cinematic homage to the founding father of Belgian documentary cinema. Filmed around Storck’s 80th birthday, the film eschews standard biographical formulas. Instead, De Hert crafts an intelligent, vibrant collage that synthesizes rare archival footage with intimate anecdotes told by Storck himself.The documentary excels at tracing Storck’s evolution from an Ostend avant-garde poet to a fierce social activist. De Hert’s signature rebellious tone shines through in bold creative choices, such as overlaying John Lennon's "Working Class Hero" onto the silent, gritty footage of Misère au Borinage (1933). This creates a powerful bridge between 1930s labor struggles and modern social critique

Cinema Verité about Fons Noyens who cannot pay for the damages caused by an accident as his ensurance company had become bankrupt. We get to see the public auctioning of his household effects.

Overview of the history of cinema in Flanders.

Story of two con men, Boorman and his younger assistant Laarmans, who are trying to sell companies their non-existing magazine.

A short war film

Documentary that looks back at 35 years of Dutch cinema, with Paul Verhoeven and others.

A documentary celebrating 25 years of flemish subsidised cinema.

Placide's dad tells him on his deathbed he'll haunt Placide if he doesn't find a wife soon. Placide cautiously agrees, but he only wants to settle for a very beautiful woman. That might be easier said than done, since he is a vagabond. When he accidentally enters a photo shoot, Placide meets Sarah. He falls in love, but she is way out of his reach.

Gaston and Leo are active in Antwerp's motorbike brigade. But the two are demoted to simple neighbourhood cops. When they track down a dangerous woman kidnapper and his accomplice, the pair soon find themselves back in favour. Before they can complete their sleuthing, they must escape the attentions of their wives.

Gaston grew up on the fringes of society and interacts with other people as little as possible. Leo, on the other hand, is a very bourgeois person. He lives way above his station, but has a heart of gold. Using forged cheques and unsecured credit cards, he tries to keep up appearances. By a coincidence, Gaston's fate is linked to Leo's.

In the freezing winter of 1944, the devastating Battle of the Bulge rages across Belgium. Amid the chaos, an American soldier separated from his unit crosses paths with Richard, a cynical young Belgian boy, and Willy, a wounded German soldier they take as a prisoner.Stranded in a desolate, snowy landscape where survival overrides military allegiance, the three mismatched individuals form a fragile, surreal bond. As they trudge through the war-torn countryside, their basic survival instincts push political ideologies aside.

In this film version of the Dutch-language classic ('heimat'-)novel by Flemish author Felix Timmermans, the title character is a city-boy from Lier who after recovering from a life-threatening disease changes his life completely and his name to the self-invented Pallieter. He moves in with Charlote, a naive, caring relative in the country, where he starts frolicking, no longer caring for image, career or possessions, but concentrates on enjoying life -such as a draftee relative's Brueghelian wedding- and finds love with Marieke. A dark story-line however is when projected work on the river in the name of economical progress threatens the rural landscape they have fallen in love with...