Johan van der Keuken went against the grain in 1980: from Amsterdam (on April 30 with the coronation riots and squatting actions) via Paris, southern France and Italy to Egypt. He made his personal travelogue in three parts for VPRO television.
The first shot shows students descending a staircase in calm, orderly fashion, then the second details the same action as a chaotic rush.
To secure the provisional release of his wife, Bruno denounces Bobby, a drug dealer who is killed by the police. A young woman tries to rescue the most addicted drug users and decides to avenge Bobby’s death.
François works at night and loves Anne, who works during the day. This results in them never seeing one another. One morning, he sees her leaving her house with an airline-pilot. In the afternoon, instead of sleeping, he wanders the streets and recognises the pilot with another woman.
Jim Thompson’s comic pulp novel Pop. 1280 is transposed from the sleepy South to listless Bourkassa, a French colony in tropical West Africa in 1938, as imagined by famed production designer Alexandre Trauner.
A woman starts exhibiting increasingly disturbing behavior after asking her husband for a divorce. Suspicions of infidelity soon give way to something much more sinister.
“I guess when you’re there you want to be home, and when you’re home you want to be there.”
In 1938, a German singer falls in love with a Jewish composer in Zurich, who helps Jews flee Nazi Germany. She wants to help but is forced back to Germany. Her song "Lili Marleen" becomes a hit with soldiers and the Nazi top.
Patrick Keiller's first film, Stonebridge Park, was prompted by the length and articulation of a footbridge over a major road junction in northwest London, and comprises moving-camera footage accompanied by a fictional narration written later. It's a film in two parts.
Germany in the autumn of 1957: Lola, a seductive cabaret singer–prostitute, exults in her power as a tempter of men, but she wants more – money, property, and love.
“I did like what you said earlier. Our practices define ‘civilization’. When they disappear, they’re ‘culture’. These days, video is the civilization, while film is turning into culture.”
“In Epitaph, landscape has partly taken the place of man. The film can be described as a psychodrama about loss and of the expanding toil of memory.
For three months, the Dardenne brothers investigated independent local radio stations in Belgium, France, Italy and Switzerland.
