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The Best Boris Lehman Directed Movies

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poster

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8.0

/9/

Seven apartments, seven times of life: one film. A classic diary film, Boris Lehman intimately chronicles his own existence and that of objects and places that became an essential part of his life. A truly cinematic experience that gives us a highly European sense of space, time and history itself.

poster

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80

/1/

Adrienne is not my mother. She is not Jewish. I met her five years ago, at Edouard’s, where I’d gone to ask my friend to lend me a dinner jacket for the premiere of my film “Life Lessons”. She came to see the film and we began to meet often (Boris Lehman).

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10

/1/

A wordless travel on a barge from Clabecq to Ruisbroek. This is the Boris Lehman’s student movie done for the INSAS school.

poster

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10

/1/

Symphonie mixes fiction with reality. The author, Romain Schneid, tells the story of his own claustrophobia in front of the camera when, when he was 12 years old, hiding as a Jew during the German occupation, he could not leave a tiny apartment. He tells and he plays alone all the characters in his drama. He invents, deforms, imagines another end. He is at the same time the author, the narrator and the actor (the actors). Did he really experience what he's talking about, or did all that happen in his head? Are we facing a testimony or a delusion?

poster

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7.2

/13/

10

/1/

A two-way mirror. Water and fire. Water extinguishes fire, and fire boils away water. There are many difficulties preventing them from understanding one another.

poster

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10

/1/

From pond to plate, we are shown the journey and destiny of one carp among many. This particular carp will be eaten stuffed during a family meal. Carp stuffed (in the Polish fashion), also called in yiddish (Gefilte Fish) is a traditional dish eaten by Ashkenazi Jews. It is cooked, sweetened and served as a cold dish at the start of the meal. The head is reserved for the head of the family. The film, set in Brussels, on the day of the Jewish New Year (Rosh Hashanah), aims to show the culinary preparation together with the accompanying prayers and ritual. It focuses particularly on the sacrifice of the fish and on the issue of mass extermination.

poster

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7.4

/9/

10

/1/

From the construction of a sculpture "life size" in the earth, the director Boris Lehman imagines a story that staged a sculptor (Paulus Brun) struggling with an impossible order. The man of land is "golemise", takes life in the countryside, and ends up dying on an opera stage.

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10

/1/

Julien and Anty, two young slackers, take seven days to move three trinkets a short distance, exemplifying the strategy of least effort. They sit on a sofa on the sidewalk, waiting for the light to turn green, taking breaks and intermissions. The film humorously mocks these pseudo-intellectuals, who will soon be together in the same bed, drinking the same cans, just two streets away.

poster

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10

/1/

This film is not a document about madness, any more than a film-truth investigation. It is a reflection of the experience of the Club Antonin Artaud's theater group (social and cultural rehabilitation center for the mentally ill, located in the Begijnhof district of Brussels and in which Boris Lehman was a leader for many years). Through the playful and instinctive creation of a piece built from collective improvisations, the actors' desire is expressed to "not stagnate, to be able to get away with it and to stand on its own".

poster

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6.6

/13/

"This filme is the 'last' episode of my auto-cine-biographic work Babel, which covers more that thirty years of mu life and it started in 1983 with 'Letter to My Friends who stayed in Belgium'. It can be considered my living will." Boris Lehman

poster

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10

/1/

With Maurice D, an enigmatic silent film that could be situated somewhere between Luis Buñuel's Un Chien andalou and Alfred Hitchcock's La Loi du silence, another extremely rare auteur, Maurice Diament, is brought to light. The anxiety-inducing effect of his film was to be increased tenfold by the sound of the metronome that was supposed to accompany the screening.

poster

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7.1

/11/

74

/5/

Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.

poster

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8.5

/15/

32

/6/

This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.

poster

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100

/1/

The last day of the life of German Jewish writer and philosopher Walter Benjamin (1892-1940). The director re-routes Walter Benjamin between Cerberus and Port-Bou before his suicide. When we started shooting, the director's camera was stolen. The film incorporates this episode and attempts to reconcile two fates.

poster

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10

/1/

In July and August Lehman filmed 150 individuals in and around Brussels, and he himself was filmed by the same persons. Like in a kaleidoscope relatives as well as friends and strangers pass the eye of the camera. Album 1 is a silent film shot in super 8 that is intended to be screened with live sound: a piano improvisation and several voices that read texts by William Burroughs, Henri Michaux and the filmmaker himself, all these things make this screening a unique event.

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10

/1/

100

/1/

A dialogue based on the Gospel according to St John. The apostles are played by friends (the disciples) of Boris Lehman, most of themselves moviemakers, filmed in front of the last house still standing opposite the new buildings of the European Union. Judas is played by Claudio Pazienza and Christ by Lehman himself. The film was shot in a matter of hours on a Sunday morning, with an incredible decor in a street that had been razed to the ground by property developers, just before the police arrived.

poster

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10

/1/

65

/1/

The film is the cinematic encounter of two looks (that of the painter Arié Mandelbaum and that of the filmmaker Boris Lehman) with one voice: that of the singer Esther Lamandier (who goes by the same name as Arié: Mandelbaum means «I'amandier»).

poster

?

8.4

/37/

10

/1/

50

/4/

The film narrates the day-to-day existence of a filmmaker wandering through his city (Brussels) and who has a notion to follow in the footsteps of dramatist Antonin Artaud and visit the Tarahumara people of Mexico. This is a film about intimacy and friendship. Written in the first person, it places Boris and Brussels in the centre of the universe, here represented by the crazy, vertiginous, endless spiral of the biblical Tower. It is Boris's diary and self-portrait. He plays himself on screen (as do the cast of a hundred who also allowed themselves to be “babelised“).

poster

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7.9

/14/

Set in the historic site of Brussels' béguinage, this film provides a detailed portrait of the neighborhood's residents. Comprised of about 30 interconnected chapters, it unfolds over the course of a single day, from dawn to dusk, with each segment building on the last, like a web of stories.

poster

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7.0

/35/

10

/1/

Film director Boris Lehman returns to Lausanne, where he was born on 3 March 1944, at the end of the war.

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10

/1/

A collage film, a dialogue between mother and the unborn child, the film can be seen as a personal self-analysis by René Paquot, who dreamily delivers his conflicts with maternal, medical and religious authority. revolt.

poster

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20

/1/

In a burlesque mode, the director tries to deflate the world (realized here by a globe), to level it, to put its three dimensions in two. To do this, he fights against the material and the ball, embraces it, lies down on it, twists and tramples it. Illusory victory or vain efforts?

poster

?

7.7

/25/

10

/1/

70

/3/

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

poster

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This is the story of a double spell. Are scarecrows not the remains of the living dead whose souls are trying to escape to ascend to heaven? The game of hopscotch goes From earth to heaven, Between luck and the well, You come back and it's over. Little, little girl, You're here to have fun. Throw the stone well, Watch where you put your feet.

poster

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"Two independent filmmakers, who willingly practise self-fiction, are filming each other in order to communicate better. In spite of their differences in language and style, the film is mainly an attempt to imitate, or even to become, the other, which is doomed to failure. But the film is in fact the story of this collision" - Boris Lehman

poster

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The dialogue is based on the Gospel according to St John. The apostles are played by friends (the disciples) of Boris Lehman, most of them movie-makers, filmed in front of the last house still standing opposite the new buildings of the European Union. Judas is played by Claudio Pazienza and Christ by Boris Lehman. The film was shot in a matter of hours on a Sunday morning, with an incredible decor in a street that had been razed to the ground by property developers, just before the police arrived.

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With a keen awareness of his mentally ill condition, René Paquot denounces all powers, and especially the practices of psychiatric hospitals, which he compares to those used in slaughterhouses: submission through medication, straitjackets, and extermination by electroshock. This film should be seen as a cry of revolt.

poster

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Portrait of Richard Kenigsman by Boris Lehman.

poster

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The son (Julien) returns to his father (Arié), who offers him rabbit for dinner, but the son only wants honey. The father goes to get some from the hive but gets stuck inside. Fairy tale or pastiche, it all ends badly. With the murder of the father. Then a hunter arrives who tries to restore some order and ends up praising chocolate. A play by Claude Schmitz, premiered at the Épongerie in 2006.

poster

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Shot with direct sound, Villofolie presents six people giving a monologue in a destroyed and dehumanized city: Brussels. The film dissects itself to reflect on mental illness and the inability to communicate. The group of people portrayed share feelings of abnormality, anxiety and loneliness.

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Boris Lehman's funereal mask is constructed when he is alive (which therefore requires him to construct a rudimentary canal to breathe through the plaster).

poster

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N/A

poster

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How to talk about History, the big one and the small one, ours and that of each of us? Watching television, browsing the Internet, rummaging through the stock of world archives? Or more simply, going back to our own images that built us?

poster

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Histoire de mes cheveux ended with a shot where I found myself locked in a concentration camp. I had said shortly before that I was glad I finally arrived home. A song of hope, however, echoed with a fantasized happy ending (Hollywood kiss) and a song that heralded spring. In reality the film did not end there. There was a second part to this story. The first tells the story of the condemned man, the second that of the survivor. And so the film had to start with a scene that could never be shot where I was escaping from the camp.

poster

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14Reels is a collective film in Super 8, where 14 directors in 14 cities around the world have filmed and edited in camera one reel each on the theme of the city.

poster

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A boat ride to celebrate a birthday with friends becomes the pretext for a film shoot. A family film that quickly turns into a fable and a biblical tale. It is the story of Noah's Ark, braving the flood and saving a few remnants of humanity, which is stranded on Mount Ararat.

poster

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The story of my hair can be told in two lines. My hair was long and black. It has turned white. It hasn't been cut since 1982, almost thirty years ago. Story of my Hair is a journey, both in space and in time. Anyone looking for truths, whether geographical, scientific or historical, will be disappointed. After looking at real events and real places the film very soon distances itself from them, preferring poetry and fiction. In his own fashion the auteur has combined the story of Samson and Delilah, the journey of those condemned to the death camps, the science of hair and a few thoughts about the meaning and fragility of life.

poster

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A short ciné-tract made by Boris Lehman in homage to the films of May '68.

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N/A

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The film illustrates the paradox that 64=65.

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