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.

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.

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

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

The idea is a simple one: three alpinists climb in the Mont Blanc Massif. This situation brings one face to face with the dangers of the mountain: avalanches, crevasses, fog, the climbing of the rocks, roping up, etc. All of this is magnified, transcended by a remarkable and strong use of the language of cinema. One of the first films about high mountains with Roger Frison-Roche and magnificent music by Maurice Jaubert

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

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.

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

The idea is a simple one: three alpinists climb in the Mont Blanc Massif. This situation brings one face to face with the dangers of the mountain: avalanches, crevasses, fog, the climbing of the rocks, roping up, etc. All of this is magnified, transcended by a remarkable and strong use of the language of cinema. One of the first films about high mountains with Roger Frison-Roche and magnificent music by Maurice Jaubert

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

Smuggler's Ball is the English-language title for this French-Belgian seriocomedy. The action takes place along the borders separating Belgium, Holland and France. It is here that the worldly Pierre (J. P. Kieran) carries on a profitable smuggling operation, all the while romancing Siska (Christian Lenier), the daughter of a local customs official. Various subplots and secondary characters weave in and out as the plotline guides the viewer through the WW II years. Towards the end, the story shifts gears when the Benelux Frontier Agreement eliminates all government regulations. The film's screenplay is by Charles Spaak, himself the descendant of a Belgian political family, and thus well-versed in bureaucracy and red tape.

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.

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.

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.

Built from 1928 newsreels—the year 60 nations vowed to outlaw war—Storck’s razor-edged montage mocks the era’s self-congratulation by cross-cutting speeches and parades with portents of renewed violence: nationalism, colonial repression, police brutality. Slow-motion collapsing chimneys and the exhumation of an “unknown soldier” give the satire its sting.

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

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

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.

When Anna, a twenty-eight-year-old photographer, is put in charge of a report on the restoration works at The Ostend Museum of Modern Art, she discovers by chance five paintings signed Constant Permeke, whose power and mystery move and fascinate her.She decides to embark on a quest to find out about who Permeke actually was, the places where he lived, how he worked, what experiences he went through.

When Anna, a twenty-eight-year-old photographer, is put in charge of a report on the restoration works at The Ostend Museum of Modern Art, she discovers by chance five paintings signed Constant Permeke, whose power and mystery move and fascinate her.She decides to embark on a quest to find out about who Permeke actually was, the places where he lived, how he worked, what experiences he went through.

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 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.

The first Easter Island documentary, filmed in 1935 when the Belgian naval ship Mercator came to collect Drs. Henri Lavacherry and Alfred Métraux, who had arrived six months before to carry out archaeological and ethnological work. The film, directed with melodramatic gusto and featuring a full orchestral score by Maurice Jaubert (who also did the narration), shows islanders, the monuments, and a public dance. A theme of decay and decadence characterizes the film, the motif portrayed gruesomely by extensive close-ups of the inhabitants of the leper colony there at the time. The film suited a romantic image of a mysterious lost civilization, the survivors eking out a pitiful existence on a barren rock. (Grant McCall)

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

A montage drawn from 35 reports Henri Storck filmed in 1930 as the city’s official cinegraphiste. The film celebrates Ostend as a place of joy and vitality—by day and night a city of beaches and parties, of sports, games, and the special pride of belonging to this seaside resort.

This was Henri Storck first art documentary, a portrait about the painter, Paul Delvaux.

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.

A 1934 documentary by Henri Storck.

"Pour vos beaux yeux" (For Your Beautiful Eyes) is an eight-minute surrealist short by Henri Storck, conceived from an idea by Félix Labisse. In just 75 shots, it follows a young man who discovers a glass eye in a park, becomes consumed by its strange allure, and tries in vain to rid himself of it by mailing it away. Featuring Henry Van Vyve in the lead role, with cameo appearances by Labisse and his sister Ninette, the film stands as a playful yet unsettling exploration of obsession and absurdity—released only a year after "Un Chien Andalou."

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.

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.

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.

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

Henri Storck’s militant short on Depression-era Belgium, set in Walloon slums on the outskirts of a prosperous city. Staged vignettes expose substandard housing, overcrowding, and numbed survival through claustrophobic, frame-filling images; a coda on slum clearance and “garden city” rehousing offers guarded hope.

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.

A silent seaside vignette from Henri Storck: weekenders (“day-trippers”) descend on the Belgian coast for brief escape—bathing huts, crowds, and playful beach routines rendered in quick, observational fragments.

No synopsis available yet.

The second part of "Le monde de Paul Delvaux" (1944/1946)

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.

Structured in visual chapters: the port, anchors, the wind, the spray, the dunes, the North Sea… A series of images that need no anecdote or explanation. Storck offers a glimpse of Ostend, aspects that order its multiple constitutive elements; The water, the sand, the waves, vital cinematic language displayed in simple pictures. A poetic and kinetic shock, without fiction or sound, which relieves film from its narrative obligation and restores it to the world of sensations that it can alone carry.

No synopsis available yet.