Éric van Beuren

Belgian Disaster.

Yachine tiene diez años y vive con su familia en Sidi Moumen, un poblado de chabolas de Casablanca. Su madre, Yemma, hace lo que puede por sacar adelante a la familia. Su padre se encuentra en un estado depresivo y de sus tres hermanos uno está en el ejército, otro es prácticamente autista y el tercero, que tiene trece años y se llama Hamid, es el cabecilla del barrio y el protector de Yachine. Cuando Hamid es encarcelado, Yachine se ocupa de varios trabajillos que le ayudan a escapar del marasmo provocado por la violencia, la miseria y la drogadicción. Cuando Hamid sale de la cárcel se ha convertido en un islamista radical y convence a Yachine y a sus amigos para que se unan a sus ‘hermanos’. El líder, se encarga de dirigir el entrenamiento físico y mental de los muchachos, antes de anunciarles que han sido elegidos para convertirse en mártires. Interpretación libre de los atentados terroristas que tuvieron lugar el 16 de mayo de 2003 en Casablanca. (FILMAFFINITY)

The story of is placed at the end of the 19th and at the second half of the 20th century. The locations are different and completely opposite: the rural Macedonia at one hand, and the urban environment of an industrial region in Belgium at another...

A Greek-Irish sailor becomes friends with a 10-year-old sampan girl while his freighter is docked in Hong Kong.

Maria Garcia (Carmen Maura) is a television journalist and she's about to be a single mother. Her career foremost in her mind, she doesn't slow down even for a minute, despite her pregnancy. She is, however, taking Lamaze classes and is quite competently coping with the romantic attentions of a man she's not very interested in. It's not at all irrelevant that her news beat includes stories on terrorism, the greenhouse effect, pollution and genetic engineering, because when her baby's due date comes and goes, she starts hearing from her infant from in the womb. It is telling her that it and many other babies are refusing to be born into such a horrible world. She learns that this is true, and that the children born through induced labor are dying.

Marquis, un conocido y obstinado bribón, encarcelado en la Bastilla por blasfemia de poca monta, no tiene más compañía que la de Collin, su órgano sexual, al que habla como un igual. La imaginación creativa de Marquis encuentra salida en sus escritos, lo que le permite soportar su cautiverio sin sufrir demasiado; pero Collin, siendo más realista, preferiría seguir el ejemplo de sus vecinos.

The Wall is a film originally intended to be screened in the run-up to Belgium's national elections in the spring of 1968. In that year, the tensions between the Dutch- and French-speaking communities were marked by often violent demonstrations and the threat of splitting the country. The story plays with fact and fiction by interweaving found footage of news reports with staged scenes. The main character is the wall which, similar to the division of Berlin, is erected through the centre of Brussels. Although the film was made by the team that compiled cinema newsreels for the company Belgavox, the influence of Henri Storck—the pioneer of poetic realism in the Belgian documentary film—is omnipresent in the camerawork, framing and editing, as well as in the use of amateur actors and filming in the street.