Stylistically, Cornelis’ approach [in Park Abbey Heverlee] is somewhat similar to the method used by Alain Resnais in L’année dernière à Marienbad (1961). Cornelis himself pointed out a connection to Alexandre Astruc’s so-called Caméra-Stylo. “Like Astruc, I seek ways to build up to something; I seek rhythms,” explains Cornelis.