Films byTexts by Seuls. Singular Moments in Belgian Film History
Article EN
23.11.2022

Displacement in relation to language stands at the center of André Delvaux’s troubling and troubled Un soir, un train (1968) – so precisely and so relentlessly that even the disquiet created by the collision of disparate nouns in the poetic title (a time and a place/thing/vehicle, improbably yoked together like a chance meeting between a sewing machine and an umbrella on a dissecting table) arguably becomes lost or at least diluted in its English translation.

Article EN
22.06.2022
Linda Polan 1985
Introduction by

Naughty Boys was the second film De Kuyper made with friends and students, but here for the first time they were joined by a “professional” actress, Linda Polan. The text below is a testimony of her experience of working with De Kuyper, preceded by an introduction by the Belgian filmmaker. Polan: “Looking back as I write this, a year later, I wonder what it was I was so frightened of. I must admit to a terrible fear of being found unsatisfactory – sent back; returned to the manufacturer, like something on approval from Peter Jones. I suppose it was that.”

Conversation FR EN
10.03.2021

“There’s something crazy about editing. The little I learned about film technique and the manipulation of forms comes from editing really. Because I had to edit everything myself; I couldn’t afford an editor – and I didn’t want one anyway. I was too – what word do they use nowadays? – “invested”. Funny word.”

Article FR EN
10.03.2021
Boris Lehman 1990
Translated by

“Nothing can fix the finite which lies between the two infinities that enclose and flee from it.” This formula by Pascal may very well apply to the films of Edmond Bernhard, the most brilliant filmmaker Belgium has ever known. His entire oeuvre essentially consists of five short films made between 1954 and 1972, less than two hours of screening time in total: Lumière des hommes (1954), Waterloo (1957), Belœil, ou Promenade au château de Belœil (1958), Dimanche (1963) and Échecs (1972).

Article NL EN
10.03.2021
Henri Storck 1995
Translated by

With nimble-fingered virtuosity, he operated an array of objects arranged around his piano: fake pistols for crime-of-passion gunshots, castanets to imitate the sound of horses’ hooves, grains of lead sliding over a canvas for the sound of waves, buckets of water and sponges for the sound of raindrops. From high up in my little room across the street, I could hear the sounds of the piano, which allowed me to understand what kind of film it was: a farce, a bourgeois drama, a romantic comedy, or even a violent storm at sea or bolting horses at a gallop.

Article FR EN
3.03.2021

Hatari! is an enormous film, one which is only saved from its monstrosity by the incredible intelligence of its director. It is a summation in which all the aspects of cinema are stirred together, amalgamated. The labyrinthine complexity of its construction is dizzying. Watching it can only put one off, or leave them wiped out.