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.

Todo verão, Luce, uma excêntrica pintora com seus 50 anos, gasta seu tempo em um pequeno e isolado município, que está em ruínas no sul da França, rodeado por convidados. Este verão em particular, os seus convidados são Max Bernier (uma antiga paixão e um autor alcoólatra), seu amante atual (um advogado chamado Bisorgueil), e três amigos dele que ela ainda não conhece: Rhino, Gros e Alex. Depois de terminar as suas compras na cidade, estes três incógnitas atacam um caminhão blindado e fogem com 250 kg de ouro. Eles, então, voltam para a casa de Luce, contando com ela para ocultá-los até o fim do verão…

Todo verão, Luce, uma excêntrica pintora com seus 50 anos, gasta seu tempo em um pequeno e isolado município, que está em ruínas no sul da França, rodeado por convidados. Este verão em particular, os seus convidados são Max Bernier (uma antiga paixão e um autor alcoólatra), seu amante atual (um advogado chamado Bisorgueil), e três amigos dele que ela ainda não conhece: Rhino, Gros e Alex. Depois de terminar as suas compras na cidade, estes três incógnitas atacam um caminhão blindado e fogem com 250 kg de ouro. Eles, então, voltam para a casa de Luce, contando com ela para ocultá-los até o fim do verão…

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...

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...

Vinte e seis cineastas dão vida a 26 histórias de morte. A cada uma foi atribuída uma letra e com ela devem iniciar a produção de um curta-metragem banhado a sangue. Engraçados e assustadores, eles fazem uma mostra colorida do gênero terror.

Vinte e seis cineastas dão vida a 26 histórias de morte. A cada uma foi atribuída uma letra e com ela devem iniciar a produção de um curta-metragem banhado a sangue. Engraçados e assustadores, eles fazem uma mostra colorida do gênero terror.

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.

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.

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.

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.