A married woman murders her husband together with her lover and dumps his body in a well. Gradually, their downfall begins when, after a while, the husband’s spirit returns.
Jamie leaves the children’s home to live with his paternal grandmother. After working in a mine and in a tailor’s shop, he is conscripted into the RAF, and goes to Egypt, where he is befriended by Robert, whose undemanding companionship releases Jamie from self-pity.
From the end of a night to dawn. An uninterrupted traveling shot. From Bastille to the Champs-Elysees, by way of the Boulevard des Italiens, Avenue de l'Opera, and Rue de Rivoli, a depopulated Paris offers itself to Marguerite Duras' mysterious and profound voice.
Jan Decorte’s second feature is a film adaptation of Henrik Ibsen’s Hedda Gabler. At the centre of the play by the Norwegian playwright are the Tesmans, who have just returned from a long honeymoon.
“From the clouds, that is from the invention of the gods by man, to the resistance of the latter against the former as much as to the resistance against Fascism.”
Maurice Pialat: This isn’t cinéma-vérité. That doesn’t exist. Everything is always reconstituted. The only truth of the cinema is what’s filmed with sincerity; there’s authenticity there.
“Why/how are the images so gorgeously luminous and cadaverously creepy at the same time, a form of possession and dispossession that seems to match perfectly Akerman’s relation to her movie, which she uses like a mirror? Is that the way that we use it, too?
A lively chronicle of residents of the Béguinage quarter, so named because it is located on the site of the former Brussels beguinage.
Gildas Grimault: Many documentaries play on humour and emotion to get their message across. Why did you refuse that approach?