Samy Szlingerbaum

Following over two dozen different individuals in the almost wordless atmosphere of a dark night in a Brussels town, acceptance and rejection in the realm of romance is examined.

Paula Barretto (Juliet Berto) is caught in the underworld because her father was involved in the drug business, her brother is in the real estate scam, and her lover is an armed thief. Although she tries to get out of her corrupt and dangerous environment, it is not an easy task when even the police officers cannot be trusted, and the underworld has informants everywhere.

Reel 12 of Gérard Courant's on-going Cinematon series.

Mid-August in Paris (the title is a date: August 15) in a sunny, quiet apartment a young woman talks, thinks, reflects about herself, everyday life and little events in a long, uninterrupted monologue. The camera pictures her and her gestures in long, fixed shots moving around the rooms, the space, the light and shadows of a summer day.

Mid-August in Paris (the title is a date: August 15) in a sunny, quiet apartment a young woman talks, thinks, reflects about herself, everyday life and little events in a long, uninterrupted monologue. The camera pictures her and her gestures in long, fixed shots moving around the rooms, the space, the light and shadows of a summer day.

A family of Polish-Jewish refugees arrives in Brussels in 1947 to navigate the challenges of postwar survival. Guided by a maternal voice-over, the narrative tracks their daily struggles with poverty, housing, and obtaining legal residency permits. Through staged, static tableaus, the film records these everyday bureaucratic and living conditions.

A family of Polish-Jewish refugees arrives in Brussels in 1947 to navigate the challenges of postwar survival. Guided by a maternal voice-over, the narrative tracks their daily struggles with poverty, housing, and obtaining legal residency permits. Through staged, static tableaus, the film records these everyday bureaucratic and living conditions.

Insomnies is an impressionistic look at the city at night, avoiding the clichés of commercial or tourist films and suggesting instead a lifestyle rhymed by windshield wipers and the music of The Honeymoon Killers. The film is flashing back-and-forth and ultimately leaves, like an arabesque of light and colour made of lines, curves and angles.

No synopsis available yet.