Les Cheveux coupés (Marre)

Centre Vidéo de Bruxelles & Atelier des Jeunes Cinéastes

The Four Seasons of Cinergie

Programming of two films co-produced by the Centre Vidéo de Bruxelles (CVB) and the Atelier des Jeunes Cinéastes (AJC!) and a short film produced by each.

The Atelier des Jeunes Cinéastes now produces a dozen “No Budget” films a year. “No Budget” means that each film is not provided with financial resources but with the workshop’s production resources and the assistance of volunteer technicians. AJC! welcomes all experimentation and film creation processes: documentaries, experimental films, poetic essays, fiction.

The Centre Vidéo de Bruxelles was founded in 1975 together with the “Videobus”. This van initially crossed the districts of Brussels with light video equipment that was made available to associations and residents. The aim of the project was to give everyone a voice so they could represent themselves. But they soon came up with the idea of “animator-filmmakers”: essential links mediating between groups without means of expression and the medium of video.

Flagey, Cinergie

Les cheveux coupés (Emmanuel Marre)
Seeking out intimate places and gestures, Emmanuel Marre films, with striking simplicity, a series of parents who cut their children’s hair at home.   prod. by Centre Vidéo de Bruxelles & Atelier des Jeunes Cinéastes
Newcomers (Mariana Duarte)
After their clandestine flight from Iran, a young couple finds asylum in Belgium. Then begins their hope for a new life, as they face up to their social constraints. prod. by Centre Vidéo de Bruxelles & Atelier des Jeunes Cinéastes
Vecinas (Natalia Sardi)
Director, dancer and choreographer Natalia Sardi tells the story of two solitudes brought together by the laws of magnetism. A fusion of the body with space as a physical extension of space. prod. by Atelier des Jeunes Cinéastes
Les Voisins (Jaco Van Dormael)
At the request of a neighbourhood committee, the director tries to portray the neighbourhood of Parc Léopold. In this microcosm, with its numerous social frictions, the residents all intone the same mantra: “Everything’s fine here”. But, little by little, some eventually unburden themselves to this outsider camera.

In the context of

Cinéma en atelier