cinema > Film cycles

 
  • Akira Kurosawa (Part 2) (01.12 > 20.02)
    Kurosawa’s career, strewn with essential films, remained faithful to an ethical concern that made him one of the great humanists of cinema. His obsessive artistic ambitions were rooted in his classical training as a painter, and many of his scenes mimic watercolours, armies of extras interplaying with a lavish chromaticism. His vast cultural knowledge made him a serial literary adapter (Shakespeare, Dostoyevsky...), and his Samurai epics are one of the most significant bodies of action movies of all time, inspiring a great many films (TheMagnificent Seven, A Fistful of dollars...). An absolute legend of the silver screen.
  • Marco Bellocchio (02.12 > 22.02)
    In 1965, the tone and style of Fists in the Pocket left a lasting impression. In 2016, two of his feature films are receiving Belgian cinema releases (including Sangue del mio sangue at Studio 5-Flagey) alongside the restored version of his first opus. Meanwhile, his substantial oeuvre has sustained a fascinating socio-political enquiry at one remove from the neorealist model. A regular feature in major international festival selections and awards, Marco Bellocchio continues to be a leading exponent of the best Italian cinema; he could even lay claim to being one of the greatest universal filmmakers since the dawn of the silver screen.
  • Russia: Andreï Zvyagintsev (03.12 > 21.02)
    Profoundly intricate screenplays that plumb the hidden depths of the human condition; rigorous and profoundly original writing; flawless, firm-handed direction of actors; remarkable chutzpah (Leviathan really pushes boundaries in its vitriolic criticism of a system plagued by corruption); a perfectly controlled mise-en-scène which nods readily to its influences (Antonioni, Tarkovsky...) without being overpowered by any of them. The work of Zvyagintsev mirrors the sheer scale of his native Siberia and offers an inexhaustible breeding ground for reflection.

  • Contest: La Semaine du Son (04.02)
    More than a century later, the Semaine du Son de Bruxelles/De Week van de Klank Brussel, in partnership with CINEMATEK, is organising a competition to create a score for this film. The award ceremony for the best score will be held after the screening of the winning entries. It will be followed by a debate with the members of the Jury and a Q&A session with the composers of the scores.
  • Ciné-concert: "Die Abenteuer des Prinzen Achmed" (05.02)

    Ninety years after its creation, the improviser Hampus Lindwall will breathe new life into this wonderful animated film, brilliantly and painstakingly created from cardboard cutouts. ‘Breathe’ is the right word, as it will be on the keys of a genuine small pipe organ (“positive organ”) that the musician will accompany the magical flying horse, the loves of Prince Achmed and all those silhouettes that inhabit this feature film and that remind us of the magic of shadow puppetry. Talking of shadows and magic, it may interest you to know that to create an atmosphere worthy of the Tales of the Arabian Nights, the Swedish organist aims to multiply the sound effects of his positive organ using a contemporary device known to all: the iPad. Thanks to his chosen apps, the sound will wrap each viewer in sound and bear them far, far away to the Orient.

  • Buster Keaton (13.12 > 08.01)
    Keaton, together with Chaplin, practically invented the comedy genre singlehanded. We can only admire the relentless comic timing of his absurd tribulations, his delusional conflicts with objects endowed with their own life, the mad creativity of his frantic chases: timeless slapstick that is a bottomless well of inspiration for gag writers worldwide. “The man who never smiled” is immortal; he never really belonged to the past and is as vitally contemporary today as he always was.
  • Russia: Edward Artemiev (16.12 > 19.02)
    Edward Artemyev has written the film scores for most of Nikita Mikhalkov’s work. Although he has worked for other directors (notably Andrei Konchalovsky), his long-term collaboration with Mikhalkov is an association as solid and as fruitful as Morricone/Leone, Rota/Fellini, Elfmann/Burton, Sarde/Sautet...
  • Russia (17.12 > 23.02)

    Russia under the spotlight: a grand concert of Eduard Artemyev’s film scores and several film cycles. With The Event, Ukrainian filmmaker Sergey Loznitsa offers an openminded view of the failed coup of August 1991 in Russia. Filmed in 1966, the series The Soviets captured images, very rare at the time, of everyday life in the USSR. Also, a reshowing of Mikhalkov’s wonderful Dark Eyes, the score for this film being entrusted on this occasion to Lelouch’s faithful collaborator, Francis Lai. And the avant-garde Man with a Movie Camera, filmed by Vertov in 1929, continues to inspire admiration and amazement.

  • Re-release: restored copy (28.12 > 11.02)
    With its modern style and message, Fists in the Pocket stands the test of time. For your viewing pleasure we have a restored version of this milestone of European auteur cinema.

  • Brussels Jazz Festival: Miles Davis (15.01 > 23.02)

    Three films with one thing in common: Miles Davis, composer, singer and actor. Miles Davis’ forays into cinema are few and far between. One, at least, made history: Louis Malle asked him to provide the soundtrack to Lift to the Scaffold, which Miles improvised majestically with his musicians in front of images from the film played in a loop. For The Hot Spot, his trumpet played opposite John Lee Hooker and Taj Mahal. Their blues sound gives impressive tonality to Dennis Hopper’s neo-noir movie. As for the Australian Rolf de Heer, he gave Miles Davis a screen role in Dingo.

  • The Four Seasons of Cinergie: Animated Short Films (20.01)
    For the winter session of the Four Seasons, Cinergie has chosen to present a special screening of animated films. These films are the recipients of Cinergie Jury prizes in national competitions during several editions of the Anima festival. Belgian animated films are mainly created by students completing their graduate studies or group workshops or independent productions.