Before moving on to fiction with the very noticed " Seule à mon mariage ", Marta Bergman honed her skills in documentaries all shot in Romania, her country of origin. 'origin. She put together the two sides of her work : her interest in the Roma people and in the lives of women, their fantasies and their dreams, as in "_cc781905-5cde-3194-bb3b- 136bad5cf58d_The ballad of the serpent ” or “ One day, my prince will come ”, films that always dig the same sensual and subtle more and more deep.

Nathalie Borgers, journalist, activist, adventurer learned cinema in California and since then she has been traveling camera in hand to the four corners of the world from Belgium to the Sahara to Vienna in Austria, where she has settled. De « Vents de sable, femmes de roc » à « Bons baisers de la colonie » , her cinema privileges the investigation, feminist and committed and often allows breathtaking images.

Alain de Halleux, a chemist by training who went to the cinema to film the invisible, as he says, has made nuclear power and its dangers his big business " R.AS, nuclear, nothing to report_cc781905- 5cde-3194-bb3b-136bad5cf58d_», «Chernobyl4ever », « Welcome to Fukushima », dix ans de documentaires irradiés où sa camera, which he holds himself, is becoming more and more sharp. Here is a multifaceted filmmaker who refrains from nothing, neither pure and hard documentary reporting, nor in-depth investigation, nor sketches. He films when it takes him, and always for the good cause.

Marie-France Collard's cinema is political, committed, rebellious : she films the oppressed, she films the invisible, her films are mirrors that force us to think. In " Ouvrières du monde ", she takes her camera from Europe to Turkey, the Philippines and Indonesia, a relentless investigation to dismantle the cogs of globalization. Then she films Rwanda, the genocide, the unthinkable, to which she devotes several films including " Rwanda, through us humanity ", between theater and cinema , his two passions since always.

Sarah Moon Howe's cinema is riveted to her life, she only talks about herself and those she loves and who gravitate around her. In " Don't tell my mother ", she recounts her life as a stripper. Then she will film her autistic son, then other women like her. In her latest film " Celui qui sa sa qui je suis ", she enters another dimension, that of the status of images and what they tell us about reality, by inventing a new genre : the thriller-doc.

Philippe de Pierpont is a multifaceted artist, award-winning comic book scriptwriter in Angoulême, man of the theater, actor, author of fiction, writer, but above all filmmaker. His big business is Burundi, where he met six street children thirty years ago whom he will film until their old age and his own. The result will be four captivating and poetic films whose protagonists gradually become authors with him. The last “ The next time I will come to the world ” is nominated for the Magritte 2019 for best documentary.

Jasna Krajinovic films her documentaries like fiction, she has the gift of reducing the distance, of putting her lens in the right place, between modesty and emotion. « La chambre de Damien », « Un été avec Anton », «_cc781905-5cde -3194-bb3b-136bad5cf58d_La chambre vide ”, his films only talk about war, but never show it. Of Slovenian origin, she lived through the tearing of the former Yugoslavia. This is the magic and the strength of his cinema : we are always at home with his characters, but his wounded self accompanies us throughout his images.

Marie Mandy came to cinema through photography. In her rich filmography of nearly thirty films, " Madeleine au paradis " occupies a prominent place : a film in which she s tenderly questions the morbid fear of hell that her grandmother felt when she reached the twilight of her life. Marie Mandy's cinema is made of questioning : How do the blind see ? which will give “ Seeing without eyes ” ; do women film like men when it comes to flesh ? And it will be “ Filming desire, a journey through women's cinema ”… Her feat is to put on her questions images full of tenderness and imagination .

Eric Pauwels, ethnologist, writer, teacher is one of the most unique of Belgian documentarians. In his first images, he films trance and dance, as in “ Violon fase ” with Anna-Thérésa de Keesmacker. He captures unique moments and the risk of live performance. Then his cinema is more personal, very written, very embroidered, with " La trilogie de la hut ", and its strong themes_cc781905-5cde-3194-bb3b- 136bad5cf58d_: life, death, freedom, him in the world, his daughter, his mother, and the cinema that he explodes into a thousand stories and a thousand characters.

In “ Les chemins de la mémoire ” for which he received the Magritte for best documentary, José-Luis Penafuerte looks at the still raw wounds of war Spanish civilian. His grandparents, Spanish exiles in Belgium founded his cinema ; « Ninos », « Aguaviva » creusent la question de l'identité_cc781905-5cde-3194 -bb3b-136bad5cf58d_; and he is about to draw a series of fiction from his latest doc " Molenbeek, radical generation ", which gives voice to mixed Brussels youth confronted with terrorism .

From documentaries to fictions, Jawad Rhalib shows himself as a committed, rebellious, flayed filmmaker who makes globalization and devastating capitalism his meticulous and denunciatory material. His films are cries and Morocco is his territory, but he can escape from it, as in " At the time when the Arabs danced " to evoke a paradise lost, that of his mother and of all those Muslim artists confronted with the dictates of the Islamic fascists.

Nicolas Rincon Gille, the Colombian from Belgium wanted to tell in three films the tearing of his country of origin, undermined by thirty years of civil war. « El escondido », « Los abrazos del rio », «_cc781905-5cde-3194 -bb3b-136bad5cf58d_La noche herida ”, from the forest to the city, passing by the river, three films to save with magnificent characters an oral tradition sinking in the face of violence.

Valéry Rosier has given himself a mission : to film the unfilmable, the passing of time, boredom, doing nothing, loneliness, silence. Dans « Dimanches » et « Silence radio », des docs très préparés, hyperréalistes, d with absolute accuracy and great tenderness, and in the feature film " Parasol ", time expands within quasi fixed, between Tati and Buster Keaton, between burlesque and tragedy.

Olivier Smolders is an extra-terrestrial filmmaker, capable of inventing " La part de l'ombre ", a documentary about a Hungarian photographer who does not exist_cc781905- 5cde-3194-bb3b-136bad5cf58d_; to seize the collage notebooks of a psychiatric patient and to make " A golden legend " ; his documentaries are UFOs that seem to want to penetrate a secret : family films that hide death in " Mort à Vignole_cc781905-5cde-3194-bb3b-136_bad5cf58d_ , the soul and the body in " Petite anatomy de l'image ", but he can come back down to earth to give voice to his students of all origins in « The plural agreement ».

Yaël André, Magritte for best documentary for " When I will be dictator " loves inventing lives, falling back into childhood, imagining all the possibilities. With her cinema that explores with the help of maps, stray cats, family images gleaned here and there, she delights in slipping into these temporary zones of uselessness, as she puts it. And then there is love. In " Histoires d'amour ", a chair, a cat, a cigarette, a pout, a smile, say everything about the lightning, from the most shy to the most crazy_cc781905 -5cde-3194-bb3b-136bad5cf58d_: a cinema at animal height and at human height.

Jérome le Maire takes time, it is time that structures all his films. He received the Magritte for best documentary for " Burning-out ", a dizzying immersion in the surgical department of a Parisian hospital where he filmed for several months. But it was in the south of Morocco, where he settled with his family, that he got into the cinema : the palm grove ", "  Tea or electricity ", a camera that tenderly films a fading world, but who always seems to believe in a better future.

Anne Lévy-Morelle is an embroiderer of images and a weaver of stories, she builds her films like threads on a loom. In " Le rêve de Gabriel ", she combines testimonies, family images and views of forest, mountains and nature to tell the story of a Belgian family emigrating to Patagonia. Avec « Sur la pointe du cœur » et « Casus belli sur les sentiers de la paix  », she interweaves images and stories to slowly bring out, thread after thread, a deep humanity.

Claudio Pazienza is no ordinary filmmaker, his gaze invites us to go beyond what we see. He brilliantly handles the art of juxtaposition and digression between filmed scenes, archive images, extracts from fictions ; and when he films, he puts himself in a daze : his parents, boar shadows, a painting with falls, money told to children, meat from the cinema_cc781905-5cde- 3194-bb3b-136bad5cf58d_: each of his films is an experience, an attempt, an attempt to venture beyond the image, to the point of making us orphans of it.

He needs a drawing, a figure, names, symbols drawn in colored pencils on a piece of paper before embarking on a shoot. For " Inside the labyrinth ", the emblem of the Tohono O'odham people, an Indian people whose reservation straddles the United States and Mexico , their emblem, the labyrinth imposed itself. Après « Correspondances » et « Ex-voto », Caroline D'Hondt poursuit sa chronique documentary about Mexico and immigration, like an echo of our own situation.

The territory of Pierre-Yves Vandeweerd is deserts, mountains, non-places, and war, one of those forgotten wars, with a frozen front, as in “ Territoire perdu_cc781905-5cde -3194-bb3b-136bad5cf58d_”, filmed in Western Sahara or “ The Eternals ” in Nagorny-Karabakh. With his old super 8 and 16 cameras, his weapons of war, he films the traps of history. A work that is rooted in reality to better escape it.

Jorge Léon came to cinema through photography, and also through psychoanalysis, which fascinates him. His cinema always arises at the edges : in “ Before we go ” patients of a palliative care unit meet dancers the Théâtre de la Monnaie, a device that allows him to capture scenes of dazzling beauty ; « Vous êtes ici », « Vous êtes servis », «_cc781905-5cde-3194 -bb3b-136bad5cf58d_Mitra ”, film after film, Jorge Léon pushes the limits of documentary cinema and performance ever further.

Sophie Bruneau is above all an anthropologist and for her, time in the cinema and the tempo, between stopping and speed are crucial to grasp the essence of things, as in " Arbres_cc781905-5cde- 3194-bb3b-136bad5cf58d_”, creatures she hunts all over the world, “ The Devil's Rope ” on the history of barbed wire in 88 minutes and 88 shots from west to east, or " Dreaming under capitalism " on the off-screen of dreams, a work lesson in freedom, in images as in life.

As a good art historian, Jean-Christophe rummages in cellars and attics, where he unearths old films, forgotten photos of his Chinese ancestors and transforms them into films : « Rues de Liège en deux temps », « Sur la piste de Yu-Bin » , brilliantly mixing the small story of his family with the big one. And as with " Somville, an artist among men ", in the cinema of Jean-Christophe Yu, it is always art and commitment that 'discussed.

Benoît Dervaux, the Dardenne brothers' chief op' carries the camera as if it were pegged to the body and that of his characters : the street children of Bucharest in "_cc781905-5cde-3194-bb3b -136bad5cf58d_Gigi, Monika and Bianca ”. As in “ La devinière ” where he tenderly shows mental illness or in “ Rwanda, life after93-5cc758 -bb3b-136bad5cf58d_” with women raped during the genocide and their children born of a barbaric act. Benoît Dervaux, one of the most sensitive eyes of Belgian documentary.