Bernard Beets

An Irish undertaker profits when outlaws take over a peaceful town, but his own family come under threat as the death toll increases dramatically.

With a heavy haul of 250 kilograms of gold bullion, the grizzled criminal mastermind, Rhino, and his ruthless gang of cutthroats, head to a ramshackle retreat somewhere in the Mediterranean to lay low on a scorching day of July. However, the unexpected and rather unwelcome arrival of the bohemian writer, Bernier, his muse, Luce, along with a pair of no-joke gendarmes further complicates things, as the frail allegiances will soon be put to the test.

A woman vanishes. Her husband inquires into the strange circumstances of her disappearance. Did she leave him? Is she dead? As he goes along searching, he plunges into a world of nightmare and violence...

Ana is confronted with body and desire at three key moments of her life. As a young girl, she brings her dead grandpa back to life. In her puberty, she discovers the power of decay and sexuality. Finally, she wrestles with loss and loneliness when she returns to her parental home, now derelict.

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?

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.