Boris Lehman

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Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

This exhibition focuses on Jonas Mekas’ 365 Day Project, a succession of films and videos in calendar form. Every day as of January 1st, 2007 and for an entire year, as indicated in the title, a large public (the artist's friends, as well as unknowns) were invited to view a diary of short films of various lengths (from one to twenty minutes) on the Internet. A movie was posted each day, adding to the previously posted pieces, resulting altogether in nearly thirty-eight hours of moving images.

No synopsis available yet.

Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.

One of the most intimate and obstinate filmmakers in Belgium, Boris Lehman acts, directs, produces, and distributes his films, single-handedly incarnating the essence of a creator who manages to survive on the fringes of his industry. From Brussels to Paris, friends, filmmakers and critics offer their understanding of a man for whom life is a reason to film, and film, a reason to live.

Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.

Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.

Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.

From the construction of a sculpture "life size" in the earth, the director Boris Lehman imagines a story that staged a sculptor (Paulus Brun) struggling with an impossible order. The man of land is "golemise", takes life in the countryside, and ends up dying on an opera stage.

From the construction of a sculpture "life size" in the earth, the director Boris Lehman imagines a story that staged a sculptor (Paulus Brun) struggling with an impossible order. The man of land is "golemise", takes life in the countryside, and ends up dying on an opera stage.

This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.

This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.

A day in the life of director Boris Lehman: he wanders from cafe to bookshop, cinema to museum, writer to musician, and into the storeroom of the film archive... He celebrates his birthday in an alleyway, with a friend, and finishes his journey with an escapade to Bruges and a stroll by the North Sea. The camera plays dirty tricks and the sound recorder gets carried away, to the point that both are clearly telling Boris to stop filming. Yet he persists…

A day in the life of director Boris Lehman: he wanders from cafe to bookshop, cinema to museum, writer to musician, and into the storeroom of the film archive... He celebrates his birthday in an alleyway, with a friend, and finishes his journey with an escapade to Bruges and a stroll by the North Sea. The camera plays dirty tricks and the sound recorder gets carried away, to the point that both are clearly telling Boris to stop filming. Yet he persists…

A day in the life of director Boris Lehman: he wanders from cafe to bookshop, cinema to museum, writer to musician, and into the storeroom of the film archive... He celebrates his birthday in an alleyway, with a friend, and finishes his journey with an escapade to Bruges and a stroll by the North Sea. The camera plays dirty tricks and the sound recorder gets carried away, to the point that both are clearly telling Boris to stop filming. Yet he persists…

Portrait of Richard Kenigsman by Boris Lehman.

Portrait of Richard Kenigsman by Boris Lehman.

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

Film director Boris Lehman returns to Lausanne, where he was born on 3 March 1944, at the end of the war.

From pond to plate, we are shown the journey and destiny of one carp among many. This particular carp will be eaten stuffed during a family meal. Carp stuffed (in the Polish fashion), also called in yiddish (Gefilte Fish) is a traditional dish eaten by Ashkenazi Jews. It is cooked, sweetened and served as a cold dish at the start of the meal. The head is reserved for the head of the family. The film, set in Brussels, on the day of the Jewish New Year (Rosh Hashanah), aims to show the culinary preparation together with the accompanying prayers and ritual. It focuses particularly on the sacrifice of the fish and on the issue of mass extermination.

From pond to plate, we are shown the journey and destiny of one carp among many. This particular carp will be eaten stuffed during a family meal. Carp stuffed (in the Polish fashion), also called in yiddish (Gefilte Fish) is a traditional dish eaten by Ashkenazi Jews. It is cooked, sweetened and served as a cold dish at the start of the meal. The head is reserved for the head of the family. The film, set in Brussels, on the day of the Jewish New Year (Rosh Hashanah), aims to show the culinary preparation together with the accompanying prayers and ritual. It focuses particularly on the sacrifice of the fish and on the issue of mass extermination.

The dialogue is based on the Gospel according to St John. The apostles are played by friends (the disciples) of Boris Lehman, most of them movie-makers, filmed in front of the last house still standing opposite the new buildings of the European Union. Judas is played by Claudio Pazienza and Christ by Boris Lehman. The film was shot in a matter of hours on a Sunday morning, with an incredible decor in a street that had been razed to the ground by property developers, just before the police arrived.

The dialogue is based on the Gospel according to St John. The apostles are played by friends (the disciples) of Boris Lehman, most of them movie-makers, filmed in front of the last house still standing opposite the new buildings of the European Union. Judas is played by Claudio Pazienza and Christ by Boris Lehman. The film was shot in a matter of hours on a Sunday morning, with an incredible decor in a street that had been razed to the ground by property developers, just before the police arrived.

In a burlesque mode, the director tries to deflate the world (realized here by a globe), to level it, to put its three dimensions in two. To do this, he fights against the material and the ball, embraces it, lies down on it, twists and tramples it. Illusory victory or vain efforts?

The son (Julien) returns to his father (Arié), who offers him rabbit for dinner, but the son only wants honey. The father goes to get some from the hive but gets stuck inside. Fairy tale or pastiche, it all ends badly. With the murder of the father. Then a hunter arrives who tries to restore some order and ends up praising chocolate. A play by Claude Schmitz, premiered at the Épongerie in 2006.

The son (Julien) returns to his father (Arié), who offers him rabbit for dinner, but the son only wants honey. The father goes to get some from the hive but gets stuck inside. Fairy tale or pastiche, it all ends badly. With the murder of the father. Then a hunter arrives who tries to restore some order and ends up praising chocolate. A play by Claude Schmitz, premiered at the Épongerie in 2006.

Through many photographs, he tells the story and allows his story to be told by those photographed. This is where the brilliant documentary reversal takes place.

Through many photographs, he tells the story and allows his story to be told by those photographed. This is where the brilliant documentary reversal takes place.

Through many photographs, he tells the story and allows his story to be told by those photographed. This is where the brilliant documentary reversal takes place.

The film narrates the day-to-day existence of a filmmaker wandering through his city (Brussels) and who has a notion to follow in the footsteps of dramatist Antonin Artaud and visit the Tarahumara people of Mexico. This is a film about intimacy and friendship. Written in the first person, it places Boris and Brussels in the centre of the universe, here represented by the crazy, vertiginous, endless spiral of the biblical Tower. It is Boris's diary and self-portrait. He plays himself on screen (as do the cast of a hundred who also allowed themselves to be “babelised“).

The film narrates the day-to-day existence of a filmmaker wandering through his city (Brussels) and who has a notion to follow in the footsteps of dramatist Antonin Artaud and visit the Tarahumara people of Mexico. This is a film about intimacy and friendship. Written in the first person, it places Boris and Brussels in the centre of the universe, here represented by the crazy, vertiginous, endless spiral of the biblical Tower. It is Boris's diary and self-portrait. He plays himself on screen (as do the cast of a hundred who also allowed themselves to be “babelised“).

A two-way mirror. Water and fire. Water extinguishes fire, and fire boils away water. There are many difficulties preventing them from understanding one another.

A two-way mirror. Water and fire. Water extinguishes fire, and fire boils away water. There are many difficulties preventing them from understanding one another.

A two-way mirror. Water and fire. Water extinguishes fire, and fire boils away water. There are many difficulties preventing them from understanding one another.

A short ciné-tract made by Boris Lehman in homage to the films of May '68.

Julien and Anty, two young slackers, take seven days to move three trinkets a short distance, exemplifying the strategy of least effort. They sit on a sofa on the sidewalk, waiting for the light to turn green, taking breaks and intermissions. The film humorously mocks these pseudo-intellectuals, who will soon be together in the same bed, drinking the same cans, just two streets away.

The man carrying his body, his reels of film, his bag and his old Nikon, is Boris Lehman, he's also Sisyphus, Jesus Christ, and Ixion as told by Alfred Jarry in La Chandelle Verte. An essay on heaviness and lightness. The carrying man would like to fly, vanish into thin air, into light. When he meets another machine-man, who carries electronic pictures, his dream will come true.

The man carrying his body, his reels of film, his bag and his old Nikon, is Boris Lehman, he's also Sisyphus, Jesus Christ, and Ixion as told by Alfred Jarry in La Chandelle Verte. An essay on heaviness and lightness. The carrying man would like to fly, vanish into thin air, into light. When he meets another machine-man, who carries electronic pictures, his dream will come true.

The film is the cinematic encounter of two looks (that of the painter Arié Mandelbaum and that of the filmmaker Boris Lehman) with one voice: that of the singer Esther Lamandier (who goes by the same name as Arié: Mandelbaum means «I'amandier»).

The film is the cinematic encounter of two looks (that of the painter Arié Mandelbaum and that of the filmmaker Boris Lehman) with one voice: that of the singer Esther Lamandier (who goes by the same name as Arié: Mandelbaum means «I'amandier»).

Seven apartments, seven times of life: one film. A classic diary film, Boris Lehman intimately chronicles his own existence and that of objects and places that became an essential part of his life. A truly cinematic experience that gives us a highly European sense of space, time and history itself.

A wordless travel on a barge from Clabecq to Ruisbroek. This is the Boris Lehman’s student movie done for the INSAS school.

14Reels is a collective film in Super 8, where 14 directors in 14 cities around the world have filmed and edited in camera one reel each on the theme of the city.