Lijmen/Het been

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.

In this sequel to Blueberry Hill, the boys of the Catholic metal working-class, who are now all working, decide to take revenge on the hated former principal Verbiest, after the sanctimonious 'pillar of society' assaulted one of their girls.

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

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street-level interviews to strip away the facade of state authority.Decades later, Le Filet Américain remains a vital historical document.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

Overview of the history of cinema in Flanders.

A short war film

Antwerp. Someone is making a feature film. After shooting the scenes on location, the filmmaker wanders to the railway station. He's having difficulties with his material, it's a commissioned film. The story is giving him trouble too. But he cannot abandon the project. He now wants to introduce a male character so that he can explain his problems.

A documentary celebrating 25 years of flemish subsidised cinema.

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

Antwerp in the fifties. Robin de Hert grew up in a Catholic parochial environment; on the one hand there is his authoritarian father and the sadistic secretary of the Catholic boys technical school, on the other hand there are the 'Grieten' and the French teacher with whom Robin is getting a good band through a secret they share. If the secretary finds out about this secret, this has major implications for both the teacher and the students ...

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.

Hugues cannot get over the untimely death of his wife Blanche, who made him happy for ten years. He lives alone in his house in Bruges, a city he would like to be dead like his wife. The sorrowful widower has transformed the place he lives in into a shrine dedicated to his beloved wife. One day, he meets Jeanne, a ballet dancer, who looks like Blanche.

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.