Bruno Forzani

After researching the Flemish horror cinema in "Forgotten Scares", director Steve De Roover - with the help of co-director Jérôme Vandewattyne (Spit'N'Split) - digs deeper in the follow-up documentary "Surrealistic Nightmares" and shows the beginning of Walloon horror cinema in the '20s (!) and how the genre evolved during the following years. Through unique experiences from the original cast and crew, horror experts and various genre journalists, a broad and in-depth picture is painted about the one-of-a-kind horror legacy from the French side of Belgium, without forgetting the difficult cinema landscape of this small country with two very different languages. "Surrealistic Nightmares: An In-depth Look at Walloon Horror Cinema" is illustrated by exclusive behind the scene footage, famous film scenes and loads of original promotional artwork.

Bernier es un escritor que pasa los días en la casa-estudio que la artista Luce tiene en una colina frente al Mediterráneo, en compañía también de una banda criminal. La llegada de la familia de Bernier y de unos policías inquisitivos detonará un tiroteo que Cattet y Forzani deconstruyen con su inimitable estilo, haciendo de esta adaptación de Manchette y Bastid un mareante festín para los sentidos.

Bernier es un escritor que pasa los días en la casa-estudio que la artista Luce tiene en una colina frente al Mediterráneo, en compañía también de una banda criminal. La llegada de la familia de Bernier y de unos policías inquisitivos detonará un tiroteo que Cattet y Forzani deconstruyen con su inimitable estilo, haciendo de esta adaptación de Manchette y Bastid un mareante festín para los sentidos.

Una mujer desaparece. Su marido decide investigar las extrañas circunstancias de su desaparición. ¿Acaso le ha abandonado? ¿O es que está muerta? A medida que va indagando en las respuestas, el marido se verá gradualmente inmerso en una serie de situaciones violentas.

Una mujer desaparece. Su marido decide investigar las extrañas circunstancias de su desaparición. ¿Acaso le ha abandonado? ¿O es que está muerta? A medida que va indagando en las respuestas, el marido se verá gradualmente inmerso en una serie de situaciones violentas.

26 letras. 26 directores. 26 maneras de morir. La idea no puede ser más simple: a cada cineasta se la adjudica una letra, y se le da total libertad para crear un cortometraje en el que la muerte juegue un papel destacado. De esta manera, se construye una antología de cadáveres exquisitos que supone, sin ninguna duda, uno de los proyectos más ambiciosos que el género ha conocido en toda su historia cinematográfica (no en vano, la producción ha atravesado quince países diferentes). El objetivo: ofrecer una panorámica ora divertida, ora siniestra, que sirva para definir todo aquello que le ha ocurrido al terror en los últimos diez años.

26 letras. 26 directores. 26 maneras de morir. La idea no puede ser más simple: a cada cineasta se la adjudica una letra, y se le da total libertad para crear un cortometraje en el que la muerte juegue un papel destacado. De esta manera, se construye una antología de cadáveres exquisitos que supone, sin ninguna duda, uno de los proyectos más ambiciosos que el género ha conocido en toda su historia cinematográfica (no en vano, la producción ha atravesado quince países diferentes). El objetivo: ofrecer una panorámica ora divertida, ora siniestra, que sirva para definir todo aquello que le ha ocurrido al terror en los últimos diez años.

A man and a woman, credited as "L'homme" and "La femme", respectively, have sex, which is presented in a series of abstract, dimly-lit, close-up shots, such as bubbles, cigarettes, leather, moaning and breathing.

Esta obra fragmentaria, que carece de diálogos, penetra en la vida de una niña que es observada por el ojo de una cerradura. Film experimental y de impecable factura que avanza a golpe de sensaciones, siempre filmadas a flor de piel.

Esta obra fragmentaria, que carece de diálogos, penetra en la vida de una niña que es observada por el ojo de una cerradura. Film experimental y de impecable factura que avanza a golpe de sensaciones, siempre filmadas a flor de piel.

Santos Palace is a coffee shop in Belgium. There, a waitress serves a strange client. Their eyes meet, minutes pass and we seem to witness a love story that hasn’t began or may have already started, with its potential jealousies and passions, or which may never happen at all; another type of romance. The feeling of seeing or being seen, the rhythmical editing, the use of cinemascope to make objects and spaces appear as abstract forms, the predominance of detailed shots: these are all obsessions, forms and audiovisual ideas that explode in this surprising film.

Santos Palace is a coffee shop in Belgium. There, a waitress serves a strange client. Their eyes meet, minutes pass and we seem to witness a love story that hasn’t began or may have already started, with its potential jealousies and passions, or which may never happen at all; another type of romance. The feeling of seeing or being seen, the rhythmical editing, the use of cinemascope to make objects and spaces appear as abstract forms, the predominance of detailed shots: these are all obsessions, forms and audiovisual ideas that explode in this surprising film.

A woman takes a shower when she suddenly hears something. What is causing the sound and what is it that we see?

A woman takes a shower when she suddenly hears something. What is causing the sound and what is it that we see?

Pieces of memories restitute what remains from a lost love.

Pieces of memories restitute what remains from a lost love.

Pieces of memories restitute what remains from a lost love.

The Giallo film reinvented as an experimental S&M-tinged fever dream, told through a combination of color-gelled cinematography and jump-cut photographs, infused with dark sensuality and perverse cruelty. The short films of the directors of Amer are technically rawer than that film, but they show what was to come in terms of themes based on giallo films and an abstract style, from the use of still frames like in Chris Marker's La Jetée to harsh coloured lighting. They are worth seeing by themselves as a refining of their ideas into a fantastic debut feature film.

The Giallo film reinvented as an experimental S&M-tinged fever dream, told through a combination of color-gelled cinematography and jump-cut photographs, infused with dark sensuality and perverse cruelty. The short films of the directors of Amer are technically rawer than that film, but they show what was to come in terms of themes based on giallo films and an abstract style, from the use of still frames like in Chris Marker's La Jetée to harsh coloured lighting. They are worth seeing by themselves as a refining of their ideas into a fantastic debut feature film.

Short horror film from the directors of Amer.

Short horror film from the directors of Amer.

John D, a septuagenarian living in a luxury hotel on the Côte d'Azur, is intrigued by his roommate who reminds him of the craziest hours of the Riviera during the 1960s. At that time, he was a spy in a growing world full of promise. One day, this neighbor mysteriously disappears... and brings John face to face with his demons again: are his adversaries of yesteryear back to sow chaos in his idyllic world?

John D, a septuagenarian living in a luxury hotel on the Côte d'Azur, is intrigued by his roommate who reminds him of the craziest hours of the Riviera during the 1960s. At that time, he was a spy in a growing world full of promise. One day, this neighbor mysteriously disappears... and brings John face to face with his demons again: are his adversaries of yesteryear back to sow chaos in his idyllic world?

New York, ear­ly 60s. Glo­ria, a young painter in her twen­ties, lives in the under­ground artis­tic micro­cosm of the Big Apple. One night, she is attacked and raped by a mys­te­ri­ous char­ac­ter with white eyes. This aggres­sion pro­vokes an inner cat­a­clysm that inex­orably push­es her towards self-destruc­tion. In order to put an end to the chaos he has caused in her, Glo­ria decides to search for this man in the streets of New York.