In Split Screen: Belgian Cinema and Cultural Identity, author Philip Mosley makes a salient and illuminating re-evaluation of a bifurcated Belgian cinema, not only through the reality of a federal state characterized by a decentralized government and regional autonomy, but also irreparably marked by occupation and war, and divided by a cultural heterogeneity that has […]
Tag: Belgian Cinema
From the Other Side, 2002
A young man stranded in a Mexican border town recounts the vivid and tragic story of his older brother who crossed the border with a group of illegal immigrants into the U.S. only to wander for days in the disorienting wilderness – each night piling together for warmth and protection, and each morning, fewer and […]
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, 1975
In the unnerving silence of a sparsely furnished kitchen in Brussels, a poised, anonymous middle-aged woman (Delphine Seyrig) – identified only through the title of the film as Jeanne Dielman – completes her food preparation, places the contents into a large cooking pot on the stove, reaches for a match, lights the burner, and with […]
Je, tu, il, elle, 1974
Je, tu, il, elle opens to the terse and contextually ambiguous, yet personally revealing statement “…And I left” as a nameless young woman – later identified as Julie (Chantal Akerman) – sits on a chair off-side of the frame with her back to the camera as she recounts an autobiographical anecdote into an obscured journal. […]
The Little White Girl Had to Bow Her Head for Emperor Hirohito, 2003
Based on author, choreographer, activist, and filmmaker Lydia Chagoll’s autobiography A Childhood in the Japanese Camps and historical essay Hirohito: Emperor of Japan, The Little White Girl Had to Bow Her Head for Emperor Hirohito is a lucid and impassioned examination of the postwar geopolitics that have led to the cultural amnesia and historical whitewashing […]
Less Dead Than the Others, 1992
Composed as a fiction film based on Buyens’s autobiographical novel, re-enacted with the intimacy of a documentary, but framed from the observational distance of an essay, Frans Buyens and Lydia Chagoll’s Less Dead Than the Others resists facile categorization – alternating between poignant crystallization of living memory in the aftermath of his younger brother’s accidental […]