Belgian Cinema

The Belgian cinema only starts to be made known, thanks to distinctions, in particular with the Cannes festival, whereas he lived a long time in the shade of other cinematographies, particularly that of the France where number of realizers and actors were going to continue their career.

Moreover, the Belgium is a small country in the middle of the Europe, in the center of two cultures: Latin and Germanic, and with the three national languages: the French, the Dutch and the German (minority). The Belgian cinema is thus declined in the plural, but if some authors make the choice of a study differentiated from each linguistic surface, others prefer to propose what brings them closer: the cultural heritage, in particular painting - that of the large Masters such as Bosch and Bruegel, or more close to us that of Paul Delvaux, Magritte, Félicien Rops or James Ensor -, attachment with the rural roots, as well as a taste marked for the Fantastic and the Onirisme, even the Surrealism, often associated with the concept of Belgitude in general.

Certain categories are more characteristic of this cinema than others: the documentary , to which Henri Storck gave his noble letters, but also the formal test (experimental Cinéma and avant-garde) and the film on the Art.

History of the Belgian cinema

The prehistory of the cinema

As of 1797, the Inhabitant of Li2ege Etienne-Gaspard Robert, known as Etienne Robertson, an at the same time scientific abbot and artist, develops a kind of Magic lantern called " Fantascope". With this apparatus allowing the shades projected to change form thanks to embryos of movement, it presents Fantasmagories which create sensation.

In 1832, the physicist and mathematician of Brussels Joseph Plate, professor with the University of Ghent and specialist recognized in the retinal Persistence, conceives the Phénakistiscope, predecessor of the Zootrope. The “scientific toy” of Plate allows the synthesis of a short movement starting from a series of drawings laid out on a bored disc of slits. Some of these discs were decorated by the Belgian painter Jean Baptiste Madou.

The time of the pioneers

The first public representation of cinema in Belgium takes place on March 1st 1896 with the Galerie of the King, with Brussels, that is to say two months hardly after the historical meeting of the Frères Light with Paris on December 25th 1895, and with a very similar program. In fact, a projection of the Exit of the factories Lumière had already taken place in preview, in a restricted circle but in the presence of many personalities, on November 10th, 1895 at the University of the Industry of Brussels.

The beginnings of the Belgian production itself are dominated by two personalities, Hippolyte De Kempeneer and Alfred Machin, a French originating in the Pas-de-Calais.

In 1897, De Kempeneer, a former drink trader, turns its first report, the king Léopold II with the Exposure of Tervueren (Koning Leopold II COp of Tentoonstelling in Tervuren ). Conscious of the interest that the Belgian spectators start to carry to these images closer to their reality, it launches a program of cinema news, " The Week animée" , which will be diffused each Friday of 1912 with 1914. The moral and teaching stakes of the cinema - in particular of documentary films - are due to him particularly in heart. In 1913 it founds the League of the Moral Cinema and in 1914, it opens the Cinema of the Families, a small room dedicated to the documentary ones, in whom it organizes school mornings. Continuing the mission of which it feels invested, it creates during the war the Belgian Company of Instructive Films.

Its productions abundant and are varied. Among the covered subjects, one notices a festival of the flowers, a horse show, a cattle fair, official visits or funeral of personalities, or of the scenes of summer camps. A series of patriotic films is also produced, for example Belgium martyrdom (Het Gemartelde België) of Charles Tutelier in 1919. Many these films were unfortunately lost.

In 1921, this business man advised also builds vast studios with Machelen, where Belgian and foreign realizers will come to work, for example the French Julien Duvivier and Jacques de Baroncelli.

On his side, the French Alfred Machin, recruited by the powerful firm Charles Pathé, turns initially of animalist films in Africa then remains with the Netherlands to develop a local cinema industry to with it, before being sent in Belgium in 1912 as artistic director of the one of the subsidiary companies of Pathé, Belgian Cinema Film.

Films of fiction start to be produced and the History of Undermined Claessens (Of legend van Minna Claessens) (1912) is regarded as the first feature-length film of the Belgian cinema. The film of this melodrama was lost, it remains about it only the scenario, preserved at the National library of France.

Always in 1912, the Pathé firm invests the field of Karreveld in the suburbs of Brussels of Molenbeek-Saint-Jean and Machin supervises its refitting then. It is there that it will turn the indoor scenes of its Belgian films.

Maudite is the war (Vervloekt zij den oorlog) , work resolutely pacifist and premonitory exit in June 1914, constitutes the top of a rich career of approximately 150 titles. Some of these films are preserved at the royal Cinémathèque of Belgium, in Brussels.

During the first world war, the Belgian cinema is a cinema of German occupation, often in German language.

Inter-war period

In margin of the fictions or report of topicality, one sees appearing after the Great War of small films in ethnological matter, precursors of the future Belgian documentary school, rather intended for the specialists that with the general public. Indeed, thanks to the cinema, one can from now on record the traces of arts and traditions popular, and the meticulous persons collectors of documents and objects, such Joseph-Maurice Remouchamps, find an ally of choice there. André Simon thus turns of the scenes such as the Braiding of the straw in the valley of Geer , Exploitation of a career or the Decapitation of the goose .

The step that some undertake in Wallonia is also that of the marquis Robert de Wavrin which explores the South American continent inlassablement, from where, to the manner of a Robert Flaherty, it brings back a series of testimonys on cultures now disappeared. Most known of its short films is In the middle of South America (1924). As for Ernest Genval, it is with the Belgian Congo, where it had already remained, that it leaves to turn a series of small films for the account of colonial companies. Its documentary length Congo which wakes up (1927) would be thus “an anthem with the civilizing, technical and industrial and medical achievements of Belgium in the colony”.

On their side the scientists, and in particular the doctors, in the line of the physiologist Etienne-Jules Marey, foresee other applications of the cinema. Antoine Castille films many pathological cases and, thanks to him, the neuropsychiatrist Ovide Decroly, formed at the Université of Ghent, puts the film at the service of his studies on the genetic psychology: the pedagog can thus observe the behavior of the children with the passing of years. These films go back from 1923 or 1932 with professor Leon Laruelle (1876-1960) (for example Brain hemorrhage or Procédés of sensitizing of the nervous system or subacute Encéphalo-myélite ). In addition, Castille launches out in a vast company of interior Ethnologie by filming the festivals of Belgium. Also, it records the gestures of traditional work. Its films are anthropological documents over one completed time.

At the end of the Years 1920, right before the advent of speaking, two Belgian scenario writers of scale make known themselves: Charles Dekeukeleire for his films of avant-garde and Henri Storck for his documentary tests on Ostend.

Dekeukeleire is impassioned very early for the cinema and its Masters have as names Germaine Dulac, Jean Epstein, Marcel the Herbarium, Louis Delluc, but also Dziga Vertov. Very built, its short film Boxing match (1927), realized under very precarious conditions but with truths boxers, uses with virtuosity all the resources of this new language. Informed film enthusiast, it draws also his inspiration on the side of the plastics technicians such as Man Ray, Fernand Leger or Marcel Duchamp. He continues his formal research with Impatience and Histoire of detective (1929), then turns many documentary until in the Années 1950. If the name of Dekeukeleire seems less familiar today, on the other hand that of Henri Storck remains durably associated with the Belgian documentary school, a little with the manner of a John Grierson in the case of the British movement. One of its first short films, Images of Ostend (1929-1930), in homage to its birthplace, can be perceived like “a poetic and kinetic shock, without fiction nor its, which releases the cinema of its narrative obligation to return it in the world feelings that only can carry to him. ” . But they are especially Misère with the Coal-mining (1933), silent film, compassionnel and engaged, turned with Joris Ivens, then the fresco country Symphonie (Boerensymfonie) turned from 1942 to 1944 which characterizes this so particular glance on the world. A generous glance, but perhaps not always completely innocent, if one believes of them some testimonys and of the documentary evidences on the positions of Storck during the Occupation. This point undoubtedly remains prone to polemic, whereas the talent of the scenario writer seems seldom disputed.

With this documentary school which marks all the history of the Belgian cinema, one can associate other names, for example those of André Cauvin and Gerard De Boe. Both turn of many films to Congo, more sensitive and more moderate than the first colonial short films, and some their titles made date, such Ecuador with the hundred faces (1948) of Cauvin and Étonnante Africa or Katanga country of copper that De Boe turned in 1956.

In parallel, two Cinéaste S of only one film carry out works of avant-garde, often attached to surrealism. In 1929, the count Henri d' Ursel, born with Brussels, turns to Paris, a little to the manner of Louis Feuillade, the Pearl , according to the scenario of the poet Georges Hugnet, a history with multiple bounces not deprived of erotism.

A little later, Ernst Moerman, poet and friend of Éluard, also fascinated by serial films of Feuillade, proposes a vision oneiric and subversive of the frightening hero of Pierre Souvestre and Marcel Allain, with Mr Fantômas , a dumb medium-length film whose first with the Palais of the Art schools of Brussels on October 12th 1937 takes place, whereas one also projects there a Andalusian dog .

In the interval however the sound made its appearance and its techniques evolve/move quickly. The first Belgian feature-length film using its optics, the Prettiest Dream (1931), is the work of the Inhabitant of Brussels Gaston Schoukens, already known for Mister my driver in 1926 and who will be during nearly thirty years the figurehead of the popular cinema. In fact it approaches a little all the kinds, the documentary one ( Belgian Football , 1922), film of art ( Our painters , 1926), the melodrama ( You will never know , 1927), the patriotic drama ( Crosses of Yser , 1938) or the unslung comedies, such Ahead the music (1935) or Bossemans and Coppenolle (1938).

As for the Fleming Jan Vanderheyden, its notoriety rests mainly on its first film, the melodrama which it carries out, assisted by its actor Willem Benoy, Filasse ( De Witte , 1934), the adaptation of a picaresque Roman of Ernest Claes, a history that one can bring closer to that of Poil of carrot .

Let us note that the royal Cinémathèque of Belgium is founded for this period ostentation, in 1938, in particular thanks to Henri Storck, and that the Festival of experimental film of Knokke-le-Zoute is created in 1949.

The years 1950

The documentary tradition continues during this decade, but a new generation of scenario writers appears.

With Rubens , realized with Storck in 1948, the historian of painting Paul Haesaerts renews film of Art by putting at the service of the comparative study the movements of camera, animations and the fragmentation of the screen, while preserving the expansion and the sensuality of the painter. During the years 1950 it turns a series of films for television.

Ethnologist scholar, Luc de Heusch turns in 1951, under a name of loan, in an abandoned house of Anderlecht, the only film of the movement CoBrA: the experimental short film Perséphone . It leaves then on mission scientific to the Congo from where it brings back two works, a small film colors, Ruanda, tables of a pastoral feudality , and especially Fête at Hamba (1955), a feature-length film in black and white which required its share a true initiation within this tribe. Consequently Luc de Heusch will become - as Henri Storck and, to a lesser extent, Charles Dekeukeleire - a scenario writer documentarist almost official ethnologist. One evokes often about it Flaherty, and especially his contemporary Jean Rouch.

The most outstanding film of fiction of this time is the gulls die in the port (1955), corealized by three young scenario writers of Antwerp, Rik Kuypers, Ivo Michiels and Roland Verhavert. The use of the black and white, the decorations urban, the wanderings without hope of a tormented hero and the tensions of a police groundwork can undoubtedly be attached to an esthetics Expressionniste, but one also evokes in this connection some European films ( the Third Man , prohibited Jeux ) or American ( On the quays ) closer in time.

At the end of the Years 1950, Paul Meyer carries out Klinkaart and Déjà flies away the thin flower , of the social fictions, with the limits of documentary, influenced by the neorealism.

Lucien Deroisy and Emile Degelin carries out their first feature-length film of fiction for this period, the first with an adaptation of the Gommes , the novel of Robbe-Grillet (1959) and the second with If the wind frightens you (1960), a daring subject for the time (the temptation of the inceste between a brother and a sister), not so far away from the French New wave, a film to which the Cannes festival decrees a mention of honor. As in other countries, a page of the national cinema is about to turn itself.

Years 1960 and 70

The Belgian cinema is subsidized starting from the Années 1960. The advances on receipts are created so much Flemish side (1965) that French-speaking side (1967). Thanks to these public finances the films are likely better to be born and an emulation appears. It was not the opinion of the scenario writer Edmond Bernhard who declared: There was a lady which required to ego a scenario at all costs. I always turn without scenario… They put to me more or less with the pinnacle at that time and they did not want to give me money. They wanted to give it to a “structure”, which would be me without being me. Several Flemish scenario writers of this new generation, Andre Delvaux ( the Man with shaven cranium ), Roland Verhavert ( Pallieter ), Hugo Claus ( the Enemies ) and Harry Kümel ( red Lips and Malpertuis ) are distinguished with the international cinematographic demonstrations. French-speaking side, Benoît Lamy succeeds in the comedy general public ( Home sweet Home ). But it is Chantal Akerman which will create the event in 1975 with the hyperrealist Jeanne Dielman, 23, quai du trades, 1080 Brussels , top of its work of synthesis between the energy of Godard and the formalism of the experimental scenario writers North-American.

In reaction to the tepid academism, less conventional scenario writers appear. If they do not receive or little government aid, their works are acclaimed abroad: Marcel Mariën, Edmond Bernhard, Roland Lethem, No5el Godin, Thierry Zéno, Jean-Marie Buchet, Boris Lehman, Picha, Jan Bucquoy, etc

Success near the general public

In the Years 1980, Marc Didden ( Brussels by Night ), Marion Hänsel ( Dust ), Jean-Jacques Andrien ( Great Landscape of Alexis Droeven and Australia ), Robbe De Hert ( Zware Jongens ), Patrick Van Antwerpen ( a pretty little place and Highly this evening ) and especially Chantal Akerman ( A whole night and Golden delicious Eighties ) are the realizers who give a new breath with the Belgian cinema of fiction conventional. At the end of this decade, the Master of music , a fiction in costumes of time of Gerard Corbiau, is nominated with the Oscars (for the better film in foreign language ).

Starting from the Years 1990, this type of Belgian cinema takes a rise and is seen rewarded: in 1991 the first feature-length film of Jaco Van Dormael, Louse the hero , allured at the same time the public and the critic and is the subject of many international distinctions, of which the Caméra of gold to Cannes; It arrived close to on your premise in 1992 with Benoît Poelvoorde, gains the Price of the public also with Cannes; in 1995, Farinelli of Gerard Corbiau obtains the Golden Globe of best foreign film; Antonia (1995) of the Dutchwoman Marleen Gorris, is devoted better foreign film to the Oscars; Pascal Duquenne, Natacha Régnier, Emilie Dequenne and Olivier Gourmet are crowned of a Palm of Gold, better actor or better actress in Cannes, respectively in 1996, 1998, 1999 and in 2002. Ultimate symbol: the brothers realizers Jean-Pierre and Luc Dardenne twice carry there the Palme of gold in 1999 with Rosetta and 2005 with the Child . Let us raise also Vincent Lannoo which, with Strass sign the first Belgian film Dogme , movement launched by the Danish Lars von Trier. In 2006, for surfer on the wave of the good reputation of Belgian films, Luc Besson produced Dikkenek , a “false Poelvoorde, without the taste, humor, the madness, without the talent” according to Libre Belgique . On its side the Flemish Communauté encourages the academic cinema ( Daens of Stijn Coninx, Villa of the pinks of Frank Van Passel) or the attempts to compete with the effectiveness of diverting American cinema ( Memory of the killer of Erik Van Looy). These products cross with difficulty the linguistic Frontière.

The current promptness of the documentary cinema , experimental and of the test is masked by the mediatized success of the traditional fiction and the least support of the public authorities, especially on the level of the distribution and promotion. In Wallonia, these categories, however characteristic of the Belgian cinema, are invisible.

The cinema of animation

The tradition of the Cartoon anchored well in Belgium finds its prolongations with the cinema quite naturally. Thus the studios Belvision, among most important of Europe, adapt the great classics in turn (Tintin, Astérix, Lucky Luke or the Schtroumpfs).

Others - the such caricaturist Picha - are tested with burlesque and derision, initially with Tarzoon, the shame of the jungle (1975), then with the Missing link (1980), a parody of the Théorie of the evolution. The commercial failure of Big Bang (1987) is followed of a cinematographic long silence, jusquà the exit into 2007 of its fourth feature-length film White-Snow, the continuation .

But it is especially Raoul Servais which significantly renews the graphic topics and techniques. International rewards are not long in crowning this innovative talent, for example the Palme of Gold of the short film with Cannes in 1979 for Harpya , a small film in which a man is terrorized by a creature semi-woman semi-bird and which skilfully associates taken real sights and animations well before the digital age. The Belgian realizer is besides the inventor of a specific process, the Servaisgraphie. In 1994, its only feature-length film to date, Taxandria , makes a broad use of digital technologies.

Also let us note that several feature-length films of animation to successes carried out by French, such as the Kirikou and witch or Triplettes of Belleville , were it in coproduction with Belgium.

The exit of the first Belgian feature-length film of animation in 3D, Fly Me to the Moon , is announced for end 2007.

Personalities of the Belgian cinema

Commentators

(Critics, journalists, etc)

Guido General assemblies of Freemasons, Historian and Anthropologist, he is specialist in the African colonial cinema and the cinema of the first times in Belgium. He publishes in particular on the Belgian Congo and the Ruanda-Urundi.
Patrick Leboutte, specialist in the Documentary film, critical of Cinema and essay writer
Sélim Sasson, historian of creative art of emissions on the cinema with RTB
Frederic Sojcher wrote the heroic village fair of the Belgian cinema (Documentary and jokes, 1896-1965) , a work which called in question some generally accepted ideas, for example on some Maîtres of the Belgian cinema like Henri Storck or Charles Dekeukeleire.
Henri d' Ursel, founder and presenter of the Seminar of Arts , the most prestigious Belgian film club during 22 years (around the Années 1950)

Selective catalog of films

1912 : the History of Undermined Claessens (Alfred Machin)
1914: the Girl of Delft and Maudite is the war (Alfred Machin)
1919: Belgium martyrdom (Charles Tutelier)
1928: Impatience (Charles Dekeukeleire)
1929: the Pearl (Henri d' Ursel)
1933: Misery with Coal-mining (Joris Ivens and Henri Storck)
1937: Mr Fantômas (Ernst Moerman)
1951: Perséphone (Luc de Heusch)
1955: the gulls die in the port of Rik Kuypers, Ivo Michiels and Roland Verhavert
1956: Klinkaart (Paul Meyer)
1958: Gestures of the meal (Luc de Heusch)
1959: Imitation of the cinema (Marcel Mariën)
1959: Déjà flies away the thin flower (Paul Meyer)
1959: Prehistory of the cinema of Emile Degelin
1962: famous Processions of Paul Flon
1963: Sunday (Edmond Bernhard)
1965: the Man with shaven cranium (Andre Delvaux)
1966: Chromophobia (Raoul Served)
1968: One evening, a train (Andre Delvaux)
1969: Dirk Ends (Andre Delvaux)
1970: Load of cretins! (Roland Lethem)
1971: the Room (Chantal Akerman)
1971: Franz (Jacques Brel)
1971: Malpertuis and red Lips (Harry Kümel)
1972: Festivals of Belgium (Henri Storck)
1973: Home sweet Home (Benoit Lamy)
1973: Far West (Jacques Brel)
1974: Vase of weddings (Thierry Zéno)
1975: Tarzoon, the shame of the jungle (Picha)
1975: the Son of Amr died (Jean-Jacques Andrien)
1975: Jeanne Dielman, 23, quai du trades, 1080 Brussels (Chantal Akerman)
1975: To remember off Gibraltar (Henri Xhonneux)
1976: high Street (Andre Ernotte)
1977: Ham of Ardenne (Benoit Lamy)
1978: Magnum Begynasium Bruxellense (Boris Lehman)
1978: a page of love (Maurice Rabinowicz)
1979: Harpya (Raoul Served)
1979: Mireille in the life of the others (Jean-Marie Buchet)
1980: Brussels-transit (Samy Szlingerbaum)
1980: the Missing link (Picha)
1980: a pretty little place (Patrick Van Antwerpen)
1981: Great Landscape of Alexis Droeven (Jean-Jacques Andrien)
1982: Winter 60 (Thierry Michel)
1982: Of time to be happy (Frans Buyens)
1982: Steps of the palate (Samy Szlingerbaum)
1984: Neuvaine (Olivier Smolders)
1985: Highly this evening (Patrick Van Antwerpen)
1985: Dust (Marion Hänsel)
1988: the Master of music (Gerard Corbiau)
1989: Australia (Jean-Jacques Andrien)
1990: Koko Flanel (Stijn Coninx and Jef Van de Water)
1991: Louse the hero (Jaco Van Dormael)
1991: Babel/Letter with my friends remained in Belgium (Boris Lehman)
1992: It arrived close to on your premise (Rémy Belvaux and André Bonzel)
1992: Daens (Stijn Coninx)
1994: Farinelli (Gerard Corbiau), Golden Globe 1995 of the best foreign film
1994: Just Friends (Marc-Henri Wajnberg)
1994: Sexual life of the Belgians 1950-78 (Jan Bucquoy)
1995: the File B. of Benoit Peeters
1996: Camp-site Cosmos (Jan Bucquoy)
1996: the Eighth Day (Jaco Van Dormael)
1997: the Amateur (Olivier Smolders)
1998: Closing of the Renault factory in Vilvoorde (Jan Bucquoy)
1998: Stories of love (Yaël Andre)
1998: the Gold of the angels (Philippe Reypens)
1999: Rosetta (Luc and Jean-Pierre Dardenne), Palm of Gold to Cannes
1999: the Conveyers await (Benoît Mariage)
1999: a pornographic connection (Frederic Fonteyne)
2000: children of Coal-mining, letter with Henri Storck (Patric Jean)
2002: Political life of the Belgians with Benoit Poelvoorde
2002: On other side (Chantal Akerman)
2003: the Son (Luc and Jean-Pierre Dardenne)
2004: When the sea assembles… (Yolande Moreau and Gilles Porte)
2004: the woman of Gilles (Frederic Fonteyne)
2004: Martyrdom (Fabrice Of Welz)
2005: the Child (Luc and Jean-Pierre Dardenne), Palm of Gold to Cannes
2005: Rwanda, the hills speak (Bernard Bellefroid)
2005: Bunker Paradise (Stefan Liberski)
2005: the Iceberg (Dominique Abel and Fiona Gordon)

2006 : Dikkenek (Olivier Van Hoofstadt)
2007: Fly Me to the Moon (Ben Stassen)

Socio-economy of the Belgian cinema

Institutions

Formations

The Belgian schools of cinema acquired a European reputation: INSAS (Brussels), IAD (Leuwen-the-New), the institute Hermann Teirlinck (Antwerp), the RITS (Brussels).

Production companies

Saga Film ~ Tarantula

Distributers

20th Century Fox Films ~ has 7 has ~ Alter Ego Films ~ Alternative Films ~ Arcade Movie Belgian Company ~ Association of the film distributers ~ Community Association and Interprovinciale de Diffusion of Audio-visual (HELPED) the ~ Atelier Graphoui ~ Beeck Turtle sprl ~ Belfilm ~ Belga Films ~ Belgavideo S.a. ~ Belgavox ~ Bevrijdingfilm ~ Boomerang pictures ~ Buena Vista International ~ University center of scientific film of Ulb ~ Centrum voor kinder jeugdfilm ~ Chanel Films ~ Movies-Vog ~ Cinéart ~ Cinédit ~ Cinélibre ~ Cinétone ~ Clap d' Ort Films ~ Classic Films ~ Columbia-Tristar-Fox ~ Co-operative Harmony Film ~ New Cinema ~ Coulembier Films ~ CRW Jefi ~ Alfred Damman ~ Decentralization of traditional and contemporary films ~ Eliza sprl ~ Elsen Film & Video ~ Films of the Elysium ~ Fivitel ~ General Folioscope ~ Films r.s. ~ Gsara-Disc ~ IFD (Film Distribution Imagines) ~ Kinepolis Films Distribution ~ Big Family asbl ~ Release Films ~ Light ~ Meteor/Independent Video Home ~ Northern Multifilms ~ Films ~ Paradiso Entertainment ~ Paragon Pictures ~ the Park Distribution ~ Pauline Pictures ~ Pegasus Releasing ~ Polygramfilmed ~ RetroFilms ~ ScERAbee Distributions ~ Standard Films ~ Studio Skoop Distributie ~ Studiofilm ~ Transatlantic Films ~ U.I.P. ~ One evening… a grain asbl ~ Victory Productions ~ Warner Bros Cinema ~ Warner Bros Video home

Cinemas

List of the cinemas in Brussels ~ Grignoux ~ Imagix ~ Kinepolis ~ Plaza Art

Cinema festivals

Brussels: Festival To film at all costs at the borders of the documentary and the test (Official site)
Brussels: Festival of the Short film of Brussels (Official site)
Brussels: International festival of Science fiction film, Science fiction and Thriller of Brussels - BIFFF (Official site)
Brussels: Festival of the Cartoon and Cartoon film, Brussels (Official site)
Ghent: International festival of Film of Ghent (Official site).
Knokke-le-Zoute : experimental Festival
Liege: International festival of film of health (Official site)
Leuwen: Afrika filmfestival (Official site)
Mons: International festival of film of love (Official site)
Moustier-on-Sambre: Festival of the Belgian cinema (Official site)
Namur: International festival of French-speaking film of Namur - FIFF (Official site)
Namur: Festival of short-measuring - Media 10-10 (Official site).

Reviews of cinema

Andere Sinema (1978)
ASIFA News
Charts on cables (1983)
Movies and Média Belgium (1990)
Movies Cards of Great Angle (1984)
Movies Newspaper (1988)
Cinergie (1986)
Movies-TV-Review (1919)
Film in Televisie-Video (1956)
Media-Box (1986)
Mediafilm (1961)
the Monitor of film and audio-visual the (1980)
the Park Cinema (1988)
For the Belgian cinema (1972)
SIGNIS MEDIA (2002)
Sound-Track
Stars (1988)

Professional associations

Association of the Realizers and French-speaking Film producers (A.R.R.F)

See too

European Cinema

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