Belgian diversity on show
There’s no doubt about it, but it’s back-to-term time with no less than 10 new films unfurling on Belgian screens this week. While one of the titles grabs the lion’s share of screens, there is a multitude of smaller releases.
Domestic titles take pride of place, with two features gracing screens. Following its appearance at Critics’ Week where it clinched the SACD Award, Lost Persons Area [+see also:
film review
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film profile], debut feature from Flemish helmer Caroline Strubbe, opens through Kinepolis on eight screens. The film leads the audience to the deepest depths of job insecurity, at the heart of a deserted construction site, where the aridity of existence is filmed by an almost intrusive camera, often hand-held. Minds Meet and Artemis produce for Belgium, in collaboration with De Productie (the Netherlands) and Uj Budapest Filmstudio (Hungary).
On the other side of the world meanwhile, Manuel Poutte is pursuing his search for religion with Distant Tremors, also a debut feature. In the deepest heart of Africa, a young Senegal man finds himself imprisoned by the culture he is trying to leave behind: witchcraft, darkness, exile, and other forces that confront him and strike as curses. Produced by Dolce Vita Films and Formosa (France), the title is released by Big Bang in two theatres.
Other releases include two domestic co-productions. The Time That Remains [+see also:
trailer
film profile], the latest offering from Palestinian director Elia Suleiman, who had to seek funding from France, Belgium, Italy and the UK for the film’s production. Co-produced by Artemis, the title opens in six theatres (Cinéart). Jean-Stéphane Sauvaire had more luck however, managing to secure financial support from the Tax Shelter thanks to Scope Invest to make his Johnny Mad Dog [+see also:
trailer
film profile], an adaptation of the mind-blowing novel by Emmanuel Dongala on child soldiers.
Last up are three French releases: Olivier Doran’s The Life Coach [+see also:
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film profile], Cédric Kahn’s Les Regrets [+see also:
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film profile], and Samuel Collardey’s fine piece L’Apprenti [+see also:
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film profile] (‘The Apprentice’). The multiple-prize winner (Etoile d’Or, Louis Delluc, Venice Critics’ Week and, Special Jury Prize at the 2008 FIFF), which borders on a documentary, follows a young boy from an agricultural school as he begins working on a farm.
(Translated from French)
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