Set in Antwerp, Belgium in the early 70s, Left Luggage tells the story of Chaja, an impetuous, liberal-minded philosophy student. She has a complex relationship with her parents, who both survived the Nazi concentration camps. She needs money so she gets a job as a nanny for a Hassidic Jewish family whose world is completely alien to her liberated lifestyle. She becomes close to their son and through this relationship learns about the lives of her own parents.
In Violin Fase, Eric Pauwels twirls the camera around the body of dancer and choreographer Anne Teresa de Keersmaeker. Through this process, Pauwels creates a new relationship between camera and dancer, but also between body and dance, dance and cinema. Consisting of a geometrical and minimalist choreographic structure filmed in four uninterrupted takes, the artist’s camera captures a woman dedicated to exploring the boundaries of physical exhaustion.
In one of the first postwar films in Yiddish, director Samy Szlingerbaum retells the story of his childhood through his parents’ immigration to Belgium after WW2 and their subsequent failure to adjust. Stunningly photographed, Brussels Transit weaves together haunting footage of postwar Brussels with astounding black and white photography, offering an emotional journey into one family’s poignant longing for a sense of home alongside European Jewry’s overwhelming isolation after the War.
October 5, 1974, on Santa Fe Street, in the suburbs of Santiago de Chile, Carmen Castillo is wounded and her partner, Miguel Enríquez, head of the MIR, dies in combat. Calle Santa Fe is the journey that Carmen undertakes for her history, for the history of the country and the MIR. A painful but restorative search, traversed by the obsession of knowing whether or not the acts of resistance of his colleagues from the MIR were worth it, whether or not Miguel’s death was felt.
This is the definitive visual record of the rise and fall of Joseph Désiré Mobutu, ruler of Zaire (the Congo) for over 30 years. Drawing upon 140 hours of rare archival material found in Kinshasa, and 50 hours of interviews with those once close to him, Mobutu, King of Zaire tells the story of the man at the heart of Central Africa’s post-colonial history.
A street with pedestrians. Music. A voice reads the credits and clarifies, “This is a very violent film.” The action begins: a man crosses the street and enters his flat. He opens the door, puts out the fire under the kettle whistling in the kitchen, and enters the living room…
This film is a moving tribute to French filmmaker Jean Rouch. Pauwels, a former collaborator of Rouch, accompanies him on a trip to Japan. In this cinematic letter, which he himself calls “a journey into the memory”, Pauwels philosophises about the essence of cinema and, consequently, of life.
Patrick Perrault, a photo-journalist covering the war in Beirut in the late 1980s, is himself caught up in the hostilities when one day he is picked up and bundled into a car at gun-point. Blind-folded, he is taken to an unknown location where he discovers that he is being taken hostage by Lebanese guerrillas. Robbed of his passport, stripped and forced to change into a pair of damp pyjamas, he is locked up in a cell from which there is no escape. And he is told that if he takes of his blindfold to see his captors he will be shot dead immediately. So begins his long and brutal nightmare…