Director
In this film, co-written with Julie Morel, we find the same power and energy intact and deployed in two stages. First of all, four portraits in which we learn that practising art or thought has enabled each of the subjects to live through and confront the traumas born of social violence. For one of them it’s voluntary exile and survival thanks to the inner strength brought about by singing, for another, it’s retreating from the world and into writing. And for each of them, a unique path.
Editor
This polyphonic film by the Belgian film artist about the history of Europe and art is an unforgettable, sensual journey between memory and nightmare. To a meditative, threatening soundtrack, we hear a series of monologues by poets and crazy people, mothers and children. Meanwhile, the image forces the eye to reflect on what and where.
Sound
This polyphonic film by the Belgian film artist about the history of Europe and art is an unforgettable, sensual journey between memory and nightmare. To a meditative, threatening soundtrack, we hear a series of monologues by poets and crazy people, mothers and children. Meanwhile, the image forces the eye to reflect on what and where.
Director of Photography
This polyphonic film by the Belgian film artist about the history of Europe and art is an unforgettable, sensual journey between memory and nightmare. To a meditative, threatening soundtrack, we hear a series of monologues by poets and crazy people, mothers and children. Meanwhile, the image forces the eye to reflect on what and where.
Writer
This polyphonic film by the Belgian film artist about the history of Europe and art is an unforgettable, sensual journey between memory and nightmare. To a meditative, threatening soundtrack, we hear a series of monologues by poets and crazy people, mothers and children. Meanwhile, the image forces the eye to reflect on what and where.
Director
This polyphonic film by the Belgian film artist about the history of Europe and art is an unforgettable, sensual journey between memory and nightmare. To a meditative, threatening soundtrack, we hear a series of monologues by poets and crazy people, mothers and children. Meanwhile, the image forces the eye to reflect on what and where.
Cinematography
There is hardly any image in Cellule 719: from time to time we see a glimpse of water, but otherwise the film is mainly black. The texts that appear on the screen in grey are from ‘Ein brief Ulrike Meinhofs aus dem Toten Trakt’, a letter written in 1972 by the RAF member Ulrike Meinhof, when she was just imprisoned. For Annik Leroy, this video project is only an intermediate stop in a longer process, a study of the historical RAF and, even more so, into the psychological mechanisms of terror, and the personality structure of a public figure who is left alone in complete isolation with her most private self.
Producer
There is hardly any image in Cellule 719: from time to time we see a glimpse of water, but otherwise the film is mainly black. The texts that appear on the screen in grey are from ‘Ein brief Ulrike Meinhofs aus dem Toten Trakt’, a letter written in 1972 by the RAF member Ulrike Meinhof, when she was just imprisoned. For Annik Leroy, this video project is only an intermediate stop in a longer process, a study of the historical RAF and, even more so, into the psychological mechanisms of terror, and the personality structure of a public figure who is left alone in complete isolation with her most private self.
Director
There is hardly any image in Cellule 719: from time to time we see a glimpse of water, but otherwise the film is mainly black. The texts that appear on the screen in grey are from ‘Ein brief Ulrike Meinhofs aus dem Toten Trakt’, a letter written in 1972 by the RAF member Ulrike Meinhof, when she was just imprisoned. For Annik Leroy, this video project is only an intermediate stop in a longer process, a study of the historical RAF and, even more so, into the psychological mechanisms of terror, and the personality structure of a public figure who is left alone in complete isolation with her most private self.
Sound
Starting in Germany before crossing into Austria, Slovakia, Hungary, Bulgaria and Romania, Vers la mer (To the Sea) is a documentary-voyage filmed in black-and-white by Annik Leroy, as she traces the River Danube from its source to the estuary of the Black Sea.
Cinematography
Starting in Germany before crossing into Austria, Slovakia, Hungary, Bulgaria and Romania, Vers la mer (To the Sea) is a documentary-voyage filmed in black-and-white by Annik Leroy, as she traces the River Danube from its source to the estuary of the Black Sea.
Writer
Starting in Germany before crossing into Austria, Slovakia, Hungary, Bulgaria and Romania, Vers la mer (To the Sea) is a documentary-voyage filmed in black-and-white by Annik Leroy, as she traces the River Danube from its source to the estuary of the Black Sea.
Director
Starting in Germany before crossing into Austria, Slovakia, Hungary, Bulgaria and Romania, Vers la mer (To the Sea) is a documentary-voyage filmed in black-and-white by Annik Leroy, as she traces the River Danube from its source to the estuary of the Black Sea.
“With this film I try to retrace my journey, my story through the ruins, neighbourhoods, and streets of Berlin. I filmed the dialogue that took place between the city and myself, the wanderings in the old neighbourhoods (Moabit, Kreuzberg, Wedding), places where you can still find most of the traces of the past, or rather what’s left of them.” (AL)
Cinematography
“With this film I try to retrace my journey, my story through the ruins, neighbourhoods, and streets of Berlin. I filmed the dialogue that took place between the city and myself, the wanderings in the old neighbourhoods (Moabit, Kreuzberg, Wedding), places where you can still find most of the traces of the past, or rather what’s left of them.” (AL)
Writer
“With this film I try to retrace my journey, my story through the ruins, neighbourhoods, and streets of Berlin. I filmed the dialogue that took place between the city and myself, the wanderings in the old neighbourhoods (Moabit, Kreuzberg, Wedding), places where you can still find most of the traces of the past, or rather what’s left of them.” (AL)
Director
“With this film I try to retrace my journey, my story through the ruins, neighbourhoods, and streets of Berlin. I filmed the dialogue that took place between the city and myself, the wanderings in the old neighbourhoods (Moabit, Kreuzberg, Wedding), places where you can still find most of the traces of the past, or rather what’s left of them.” (AL)
