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Abandoned by his father, a young boy is left in the hands of an unqualified childcare provider.

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The Kid with a Bike (French: Le Gamin au vélo) is a 2011 drama film written and directed by the Belgian brothers Jean-Pierre and Luc Dardenne, starring Cécile de France and Thomas Doret. Set in Seraing, it tells the story of an 11-year-old boy who turns to a woman after his father has abandoned him.[1] The film was produced through companies in Belgium, France and Italy. While it does not deviate from the naturalistic style of the Dardenne brothers’ earlier works, a brighter aesthetic than usual was employed, and the screenplay had a structure inspired by fairytales. Unusually for a film by the directors it also uses music. It premiered at the 2011 Cannes Film Festival and won the festival’s Grand Prix.Read More »

Two friends, Arthur and Jérôme, want to make a film. After much hesitation, they give up their primary aspirations and opt for a trendy theme: eroticism! Benefiting from a tidy sum of money, all they have to do is find the ideal cast. But the tandem is far from imagining that this somewhat crazy project will completely change their existence.Read More »

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Channel 4 – 26 May 2011

Colin Blanchard, Vanessa George, Angela Allen, Tracy Lyons and Tracey Dawber provoked widespread revulsion and made international headlines after their sexual offences against children came to light in 2009.

With unique access to the police investigation, Cutting Edge is the first film to take an in-depth forensic look at this criminal web, detailing how it operated, and what motivated the five people within it.

This carefully crafted, sensitive and revealing documentary uses police interviews with the offenders, and first-hand testimonies from family members of the offenders and the parents of a possible victim.Read More »

Johan van der Keuken films in India, in Kérala, various situations of teaching or training: courses of a school of dance, songs, martial arts, a vedic school, a scene of theater. In counterpoint, the circulation of the money through the route of a small busy lender of countryside of village in village. It is a filmic movement which collects the gasoline of a civilization, the permanence of certain values of harmony and artistic discipline.

Note: Grand Prix with the Festival of Brussels, 1989.Read More »

1990-1991: “Face Value” Awarded the Dutch Press Prize, Netherlands

Rejecting linear narrative storytelling, the director offers us an epic on humanity and cultural diversity in Europe through a multitude of appearances, a cartography of faces, the reflection of an imaginary Europe made up of London, Marseille, Prague and the Netherlands.

“Everything revolves around faces and the act of looking: the desire to show oneself, the fear of being seen, the impossibility of seeing oneself, the fear and desire of seeing the other. And, as well, within this theme of looking and seeing, the uncertain struggle for identity, the ferocious struggle for territory, the sweeping movements of love and death” (JVDK)Read More »

New York, Geneva, Hong Kong and Amsterdam are major hubs of the world’s economy. Great amounts of money circulate there, and whereas poverty is ubiquitous in the streets of New York, Geneva carefully protects its wealth behind impeccable facades.
No one is unaffected by the myth of the all-powerful Dollar: the under-privileged struggle to survive talking about their unattainable dreams, while businessmen, from the safe distance of their offices, lay down the tenets of their financial theories.Read More »

Ashes contemplates love, pleasure, and the destruction of memory. The surroundings of everyday life are shared with extreme intimacy. For Apichatpong, Thailand, while full of beauty, is slowly collapsing into darkness.

“King Kong rarely barked. She had been with us since she was three months old. Every night she slept and looked around in her dreams.

We thought that our spirits were enriched by the fertile soil and the greenest leaves and the rarest insects and the abundance of humility. But came a day in March we woke up from our dream. The sky wept ashes. The rotten ground trembled as baby worms rose to taste the gray snow. Across the mountains the light of devotion shone and blinded our souls. The darkness was so bright we wept and shouted in silence. And we woke up again, and again.Read More »

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“A comedy in six parts,” each introduced with a quote taken from a public bathroom wall (“Slave seeks master to train me as his dog,” etc.). The Kaiser Wilhelm Church dominates the Berlin skyline as seen from a glass-paneled, high-rise office, a shooting takes place on a monitor. Surveillance footage? No, the ending of The Devil, Probably. Each generation has the revolutionaries it deserves, after the Baader-Meinhoff affair you’re stuck with middle-class ninnies: leader Volker Spengler secretary Hanna Schygulla, schoolteacher Bulle Ogier, composer Udo Kier, housewife Margit Carstensen. The puppet master is the industrialist (Eddie Constantine) who heralds cinema’s utopian lies (“As long as films are sad, life isn’t”); his corporate must promote security equipment, so he manipulates the radicals into kidnapping him and sits back to enjoy the clown show.Read More »

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Maria (Hanna Schygulla) marries Hermann Braun in the last days of World War II, only for him to go missing in the war. Alone, Maria puts to use her beauty and ambition in order to find prosperity during Germany’s “economic miracle” of the 1950s. Rainer Werner Fassbinder’s biggest international box-office success, The Marriage of Maria Braun is a heartbreaking study of a woman picking herself up from the ruins of her own life, as well as a pointed metaphorical attack on a society determined to forget its past.Read More »