© Zig-zags (Dominique Loreau, 1987)


Dominique Loreau’s feature-length films, including Divine carcasse (1998) and Au gré du temps (2006), are strongly anchored in a documentary reality: the actors play themselves and improvise from a predetermined framework that nevertheless welcomes coincidences and the passage of time.

This methodology is already visible in her 1987 short film Zig-zags. 16-year-old Claire is bored to death and decides to visit her friend Françoise. During this impromptu evening, meandering through the city,  frustrations and unspoken issues take centre stage. The semblance of a friendship irrevocably fades.

Jeanne Dielman, 6 quai aux Barques, 1000 Bruxelles (2024) by Marilyn Watelet and Goujons 59/63 (2015) by Gwenaël Breës, Mathieu Haessler, Cécile Michel and Sonia Ringoot will also be screened. In each of the films, residents wander through Brussels’ working-class neighbourhoods in search of encounters.

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In Dominique Loreau's very first (short) film, a woman wanders the streets of Brussels, waiting to leave for the tropics with a man she happened to meet in a pub.


Belgian filmmaker Samy Szlingerbaum directed the short film Le 15/8 in 1973 together with Chantal Akerman. He then made two short films of his own, including this nocturnal Insomnies, which rhythmically and associatively depicts the neon lights of the Belgian capital—like a dream. A mostly formal experiment of barely nine minutes. 


In an exercise of ironic self-awareness, Chantal Akerman tries to deal with her own procrastination by making a film about laziness itself. The film is part of a collective project in which seven women each are making a short film about one of the deadly sins.