Henri Storck

A lonely young widow lives with her son following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.

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.

Three pioneers of documentary filmmaking – Joris Ivens, Henri Storck, and the man behind the camera, Jean Rouch – recall the early days of the documentary genre and speak about their creative methods and sources of inspiration. This lively discussion between the directors is shot in cinéma vérité style and spliced with footage from their older films.

In a repressive boarding school with rigid rules of behavior, four boys decide to rebel against the director on a celebration day.

A documentary celebrating 25 years of flemish subsidised cinema.

Robbe de Hert’s Henri Storck, ooggetuige (1986) is a brilliant cinematic homage to the founding father of Belgian documentary cinema. Filmed around Storck’s 80th birthday, the film eschews standard biographical formulas. Instead, De Hert crafts an intelligent, vibrant collage that synthesizes rare archival footage with intimate anecdotes told by Storck himself.The documentary excels at tracing Storck’s evolution from an Ostend avant-garde poet to a fierce social activist. De Hert’s signature rebellious tone shines through in bold creative choices, such as overlaying John Lennon's "Working Class Hero" onto the silent, gritty footage of Misère au Borinage (1933). This creates a powerful bridge between 1930s labor struggles and modern social critique

Documentary essay about the First Moscow International Film Festival, held in August 1959, about its participants and guests - Soviet and foreign actors, directors who came to the film forum.

Found footage using Chantal Akerman's Jeanne Dielman.

A portrait of the belgian writer Herman Teirlinck by Henri Storck.

From 1942 to 1944, Henri Storck composed his Symphonie paysanne, in which he describes the day to day life and rituals of the farmers on the rhythm of the seasons. The film is a poem to nature, a lyrical masterpiece on life and death, on animals and plants, on man and his labour.

From 1942 to 1944, Henri Storck composed his Symphonie paysanne, in which he describes the day to day life and rituals of the farmers on the rhythm of the seasons. The film is a poem to nature, a lyrical masterpiece on life and death, on animals and plants, on man and his labour.

From 1942 to 1944, Henri Storck composed his Symphonie paysanne, in which he describes the day to day life and rituals of the farmers on the rhythm of the seasons. The film is a poem to nature, a lyrical masterpiece on life and death, on animals and plants, on man and his labour.

Biopic about Father Damian and his life and work on the island of Molokai.

This surreal abstract film falls into three sections, or movements, the first taking place on the ground, the second in the air and the third again on the ground. In the first movement various motifs or themes are introduced, which are again picked up and developed in the third movement. Six spheres, evolved in the first movement, become the sole subject matter–or “dancers”–of the second movement, which consists of a simple type of ballet using the floor-plan choreography or traditional ballet as a basis of interest.

This surreal abstract film falls into three sections, or movements, the first taking place on the ground, the second in the air and the third again on the ground. In the first movement various motifs or themes are introduced, which are again picked up and developed in the third movement. Six spheres, evolved in the first movement, become the sole subject matter–or “dancers”–of the second movement, which consists of a simple type of ballet using the floor-plan choreography or traditional ballet as a basis of interest.

This surreal abstract film falls into three sections, or movements, the first taking place on the ground, the second in the air and the third again on the ground. In the first movement various motifs or themes are introduced, which are again picked up and developed in the third movement. Six spheres, evolved in the first movement, become the sole subject matter–or “dancers”–of the second movement, which consists of a simple type of ballet using the floor-plan choreography or traditional ballet as a basis of interest.

A day-of record of 30 December 1938 as Belgium mourns Emile Vandervelde—“the Boss”—with massed corteges, banners, and eulogies for the Belgian Labour Party leader, statesman, and pillar of international socialism.

Henri Storck: “The General Commissariat for Tourism had organized a ‘Year of Folklore’ and, on that occasion, asked me to make a series of films devoted exclusively to this form of popular culture.” 1.Carnaval van Oostende - 2.Vastenavond te Aalst - 3.Carnaval van Malmédy - 4.Straattoneel in Malmédy - 5.De Gilles van Binche - 6.Meiboomplanting en Passiespel door de marionetten van Toone in Brussel - 7.Heilige Bloedprocessie in Brugge - 8.De 'witte Moussis' van Stavelot en de kermis van Bergen - 9.Passiespel in Lessen en Ligny. Halfoogst-feesten in Outre-Meuse (Luik) - 10.De Chinels van Fisse-la-Ville. De 'Grootjes' van La Louvière. Het ontploiffen van Kruipotten in Luik.

On Ostend’s North Sea shore, a sudden squall pushes two strangers under a bathing hut; when the sun returns, their flirtation blossoms into a playful, near-wordless seaside idyll of sand, surf, and shells.

A montage of images from newsreels; Storck's edit contains comical, poignant, even chilling juxtapositions.

A family film, a short summer film, made to record the joy of being together. But what a family! Léon Spilliaert, Paul Delvaux, Edgar Tytgat and his wife Maria, Luc and Paul Haessaerts. A garden, some seats and a camera that films the group of friends. They talk (given all the jollity, laughter and gestures seen it is a shame that it is a silent film). A period document only a few minutes long, a witness that puts names to faces, a reminder of a sunny afternoon. Emotion that loses itself in the moment.

Film edited and directed by Luc de Heusch using images never used that Henri Storck turned in Ostend in 1930 while he was "cinégraphiste" of the city.

This trailer for the pleasures of living between La Panne and Le Zoute testifies to the post-1936 euphoria that came with paid holidays, with sun and rest for everybody.

An UN produced French documentary attempting to illustrate the many causes of juvenile delinquency with particular reference to adverse environmental influence.

Henri Storck and Joris Ivens’ landmark of social documentary, blending staged scenes with locals and on-the-spot reportage to depict the 1932 miners’ strike in Belgium’s Borinage—evictions, hunger, and police repression—transforming outrage into a call for solidarity.

Henri Storck and Joris Ivens’ landmark of social documentary, blending staged scenes with locals and on-the-spot reportage to depict the 1932 miners’ strike in Belgium’s Borinage—evictions, hunger, and police repression—transforming outrage into a call for solidarity.

Departing Ostend for the North Sea grounds, a fishing boat casts its herring nets until a drift into French waters prompts a boarding by the coast guards—a brisk portrait of hard work at sea and the thinness of a maritime border.

One of the first European films commissioned by the countries that signes the Brussels treaty and filmed in the museums of Brussels, Amsterdam, Paris, London, Ghent and The Hague. The film shows, by means of 59 works of art, how painting discovered the landscape once it left the strictly religious context behind. Henri storck wrote, "We have tried to eliminate the artificiality of filming. We have tried to hide the camera in order to immerse the audience in the world of the painting and the landscape that it depicts. We want the viewer to discover the feeling of nature for himself, through the artists.... It is not our ambition to make a critical or informative work." This iconic journey from Bosch to Manet and Turner is accompanied by music by Georges Auric.

A bitter-sweet story of a young sales assistant and a truck driver trapped between their dreams and the economic depression.

The beach and the bathers, poses and gestures. A series of sketches and portraits, little touches that build up into a wry, affectionate portrait of a Sunday at the beach.

Documentary about the inhabitants, both human and animal, of the Belgian Congo.

A lyrical promotion of Belgium’s North Sea coast that alternates teeming promenades and playful beach games with elegant seafront vistas; shot by John Fernhout and set to Marcel Poot’s score, with commentary by Éric de Haulleville.