When night comes, young Ama and his companions travel through the bushes of Boli Bana, followed by a herd of huge and caring beasts.

During the day, young Aissita is the center of attention of the Boli Bana village. A witch has arrived for a ritual : Aissita’s coming of age.

Through these children’s eyes, a nomadic and mystical world appears. A Fulani childhood in Burkina Faso.

For two years, the Belgian director Jérôme Le Maire followed the members of a surgical unit in one of the biggest hospitals in Paris. This high-performance operating facility works in continuum : 14 aligned rooms that have a target of carrying out 8 to 10 interventions a day.

The workflow, though extremely sophisticated, has become unhealthy. The medical and paramedical staff keep their heads down. Chronic stress, burn-out, and psychosocial risks win over the hospital. Surgeons, anaesthetists, nurses and caregivers, as well as the managers, administrators and directors, are caught in a frenetic race that has no end.

Aware of the situation, an audit was carried out by the administration concerning the work organization, in an attempt to defuse the situation.

Burning out takes us to the heart of work and its excesses, when there is overheating and a threat for it to spread. An effort to understand this contemporary plague, a disorder that mirrors our society, and reaches the hospitals. joy

at work?

Through the tragic destiny of a Ukrainian Human rights defender, seeking asylum in France and his presumed death, the director questions her unexpected cinematographic experience and what really happened between the two of them.

Between police investigation and psychological thriller, the film questions the mysteries behind a man with multiple identities, always disappearing to reappear somewhere else. Two mysteries cross each other in the film : the one of the character and the one of the director. What is her responsibility as a filmmaker towards her filmed subject ? And do you have to stage your own life to bear your condition of being alive ?

Between the corridors of greenhouses of a plastic-wrapped world, appear small slums where men and women, who crossed the sea in search of a better life, take shelter.

In the heart of this breathless Eldorado, everyone tries to piece together the debris of a world that seems forever lost.

As days go by, waiting for news of the paperwork and for work to come. Only small everyday gestures can keep hold of time, suffocating its anger.

How can you film your own death ? How can you stage it ? At first sight this might raise a smile, and yet this question concerns everyone, even if you are not a filmmaker.

Having reached an age at which you think about getting your bags ready for the next world, I’m about to burn my life, to throw away all I’ve collected and accumulated for over half a century.

Books, clothes, films, everything must, will disappear, in ashes and smoke.

A poetic portrait of Giorgi Shakhsuvarian, an Armenian boxing coach from Tbilisi. Living and working in Belgium, he prepares a young boxer to become a European champion. Made out of a profound love for the man portrayed, the film weaves together the feeling of distance, a floating experience of time and space, and the choreography of boxing.

By following ancient Anatolian rites, a woman of Turkish descent experiences a wild psychoanalysis : guided by the mythological figure of the centaur Chiron, she dreams her way through fragments of memories, both personal and collective.

Space and time become dislocated, opening up passageways between different worlds.

She strides along the streets of a village in the mountains where her mother was born, and where the Armenian population disappeared in 1915 – as well as the ruins of an ancient hospital, where water and dreams were used for healing, 2000 years ago.

An exploration of memory, as a way to fight against oblivion and the violence of covered up history. Kazarken, haunted by real or dreamed voices, is also a journey towards an ancient way of thinking, barely buried : an invitation to change the way we perceive the world and finally break free from the inherited curses.

The narrator starts his story in his childhood, his native village in Flanders, taking us on a journey in relation to the pig, from prehistoric times up to today. He travels through Spain, China, North America and Belgium. He visits a laboratory, a natural history museum, a slaughterhouse, an organic farm, a pig farm, an imaginary pig museum, a meat processing factory, hunting grounds, etc.. The intimate and universal rub along side by side.

L’histoire du cochon (The story of the pig) is about the relationship between man and animals, what he inflicts on him, and by extension what he inflicts on the world. It’s the story of the pig in us. The words sound like grunts.

This documentary is a look at our civilization, the different points of view are tackled with moderation and restraint. The tone of the film is elegiac, slipping from doubt to hope.

In the evacuated zone around the nuclear plant of Fukushima, 5 years after the “catastrophe”, a few scattered individuals still live in this abandoned land, burning with radiation.  This film follows them in their daily lives at the moment when the works of “decontamination” orchestrated by the Japanese government seems pretty derisory given the scale of the quake on both the human and environmental levels. The apparently peaceful and rationally irrational existence of these few diehards is in all points a question of survival and reminds us that a patch of land is, in the final analysis, our strongest bond to the world.

Le champ des visions is a film that approaches the relation between man and insect through stories, legends, souvenirs, and intimate sensations…

And raises the following questions : Why does this animal kingdom exert on us either fascination or feelings of disgust?

What can we learn about ourselves and our society?

Does the world perceived by our senses resemble the one perceived by animals?

Can mankind really get to know insects or only dream about it?

My name is Rosine Mbakam, I am 34 years old, and I am from Cameroun. I grew up in Cameroun following the traditions until I was 27. In 2007, I moved to Belgium to pursue my studies. It was the first time I left my country.

My mother’s name is Mâ Brêh or Mâ, in Bamileke. She is 68 years old and has always lived in Cameroun. She grew up in the bush, where her family and many others fled to escape the French settlers’ repression. She got married at the age of 18 to a man that her parents introduced to her.

This film is a face-to-face that confronts and questions the choices of two women. Two generations face each other, but above all, two women sharing with each other their intimacy, their sufferings and their desires.

We call those who suffer from the melancholy of eternity, eternals. Convinced that death cannot triumph over their lives, they believe that they are doomed to wander in anticipation of the day when they will be freed from their existence.

This film is a story of wandering and fleeing, on the borders of Nagorno-Karabakh, an Armenian enclave in Azerbaijan. Inhabited by the ghosts of genocide and by the war that has raged there for over twenty years, the characters who pass through this film carry within themselves the melancholy of the eternals.

At age 80, Ronald Creagh sings Joe Hill at the top of his lungs. Gaetano Manfredonia reveals the convulsing beauty of Experimental Anarchism (that he calls “educationniste-réalisateur”). Brandon Spicey and Richie Anderson do an Acid Hardcore demonstration in a 3 by 4 meter bedroom.

The regular and circular movements of the camera through landscapes testify to a solitary and resilient act. Some architecture transports us to silent utopian zones.

And regularly, the laughter, the children, the explosions and old images of Rave parties summon up limitless vitality. A muffled clarity emerges from all of this: obey ? What for?

Ninety-year-old sound artist and comedian Henry “Sandy” Jacobs and his eccentric old friend and neighbor, architect Daniel Liebermann, live a quirky existence on a mountain in Northern California. The wise fool Sandy lives in the here and now, while Liebermann is engulfed by unfinished projects and unfulfilled dreams. These non-conformists, each in their own way, still search the world for perfection.

Copresentation with the coproducer Beursschouwburg

Tremor is driven by the voices that run through it – the voices of poets and madmen, of a mother or a child. From self-reflexive thoughts to spontaneous accounts, from witness statements to pure fiction, they talk in turns about their experience of violence and war. As we listen to them, our gaze is taken to places and scarred landscapes impossible to locate. Noises from elsewhere filter through. The image becomes distorted and porous. Music starts to play. The film lingers over the presence of a pianist, before diverging again…

Tremor is a sensory journey between memory and nightmare. An act of resistance.