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The Best Henri Storck Directed Movies

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poster

63

15

7.2

/462/

51

/11/

62

/15/

3.5

/535/

Henri Storck and Joris Ivens’ landmark of social documentary, blending staged scenes with locals and on-the-spot reportage to depict the 1932 miners’ strike in Belgium’s Borinage—evictions, hunger, and police repression—transforming outrage into a call for solidarity.

poster

66

9

7.2

/138/

56

/3/

69

/10/

3.5

/319/

Structured in visual chapters: the port, anchors, the wind, the spray, the dunes, the North Sea… A series of images that need no anecdote or explanation. Storck offers a glimpse of Ostend, aspects that order its multiple constitutive elements; The water, the sand, the waves, vital cinematic language displayed in simple pictures. A poetic and kinetic shock, without fiction or sound, which relieves film from its narrative obligation and restores it to the world of sensations that it can alone carry.

poster

?

6.3

/12/

10

/1/

60

/1/

One of the first European films commissioned by the countries that signes the Brussels treaty and filmed in the museums of Brussels, Amsterdam, Paris, London, Ghent and The Hague. The film shows, by means of 59 works of art, how painting discovered the landscape once it left the strictly religious context behind. Henri storck wrote, "We have tried to eliminate the artificiality of filming. We have tried to hide the camera in order to immerse the audience in the world of the painting and the landscape that it depicts. We want the viewer to discover the feeling of nature for himself, through the artists.... It is not our ambition to make a critical or informative work." This iconic journey from Bosch to Manet and Turner is accompanied by music by Georges Auric.

poster

?

60

/1/

A family film, a short summer film, made to record the joy of being together. But what a family! Léon Spilliaert, Paul Delvaux, Edgar Tytgat and his wife Maria, Luc and Paul Haessaerts. A garden, some seats and a camera that films the group of friends. They talk (given all the jollity, laughter and gestures seen it is a shame that it is a silent film). A period document only a few minutes long, a witness that puts names to faces, a reminder of a sunny afternoon. Emotion that loses itself in the moment.

poster

?

6.6

/27/

70

/1/

50

/3/

Borinage left Henri Storck profoundly disturbed by injustice and social poverty. When he was offered a chance to make the film he undertook an in-depth survey into the working class and slums and shouldered his camera as a militant filmmaker. In a plot of Walloon slums he staged characters and situations as examples. All shots work on intensity, the filling of the frame, which gives the impression of being unable to breathe, of being trapped, closed in. And in the face of this overflowing misery is the emptiness of the expressions, the absence of emotion. Survival is all. But the message of hope is there, with the destruction of slums (the hovels are demolished as if getting rid of a tyrant) and the construction of garden cities surrounded by trees in bloom and a future of song, leaves one with the impression that man’s dignity has been safeguarded.

poster

?

7.0

/26/

60

/1/

The North Sea. Rain is falling. Two young people take shelter under a bathing hut. The sun returns, and sand, sea and shells all figure in their amorous games.

?

6.7

/24/

63

/3/

The beach and the bathers, poses and gestures. A series of sketches and portraits, little touches that build up into a wry, affectionate portrait of a Sunday at the beach.

?

7.0

/10/

65

/4/

A boat leaves the port of Ostend and casts its nets, but when it enters French territorial waters the boat is inspected by the coasts guards.

poster

?

6.9

/28/

55

/4/

This surreal abstract film falls into three sections, or movements, the first taking place on the ground, the second in the air and the third again on the ground. In the first movement various motifs or themes are introduced, which are again picked up and developed in the third movement. Six spheres, evolved in the first movement, become the sole subject matter–or “dancers”–of the second movement, which consists of a simple type of ballet using the floor-plan choreography or traditional ballet as a basis of interest.

poster

?

6.6

/14/

25

/2/

When Anna, a twenty-eight-year-old photographer, is put in charge of a report on the restoration works at The Ostend Museum of Modern Art, she discovers by chance five paintings signed Constant Permeke, whose power and mystery move and fascinate her.She decides to embark on a quest to find out about who Permeke actually was, the places where he lived, how he worked, what experiences he went through.

?

70

/1/

This trailer for the pleasures of living between La Panne and Le Zoute testifies to the post-1936 euphoria that came with paid holidays, with sun and rest for everybody.

poster

?

7.0

/68/

60

/1/

77

/3/

For Histoire du soldat inconnu (Story of the Unknown Soldier) Storck watched newsreels for the whole of 1928, the year when 60 nations signed a pact outlawing war, and juxtaposed this heart-warming utopia with the signs of a forthcoming conflict (this was in 1932) – burgeoning nationalism, police brutality, excessive colonialism, bellicose politics. Ferocious editing sarcastically juxtaposes these good intentions with the political farce of speeches and parades, all to the tune of factory chimneys collapsing in slow motion and the exhumed body of an “unknown soldier”. —cinematek.be

poster

?

6.5

/15/

60

/5/

50

/3/

The second part of "Le monde de Paul Delvaux" (1944/1946)

poster

?

6.3

/97/

50

/2/

57

/7/

The ideas for the next film, Pour vos beaux yeux (For Your Beautiful Eyes), came from Félix." In eight minutes and 75 shots, the film tells the story of a young man who finds a glass eye in a park, becomes obsessed with the object and attempts to get rid of it by sending it through the post. With Henry Van Vyve in the main role (Labisse and his sister Ninette made an appearance only in the first third of the script), the film was a clear surrealist statement, one year after Un chien andalou.

poster

?

6.8

/72/

85

/2/

A montage of images from newsreels; Storck's edit contains comical, poignant, even chilling juxtapositions.

poster

?

5.5

/95/

48

/8/

50

/7/

This was Henri Storck first art documentary, a portrait about the painter, Paul Delvaux.

poster

?

10

/1/

A portrait of the belgian writer Herman Teirlinck by Henri Storck.

poster

?

7.0

/8/

The first Easter Island documentary, filmed in 1935 when the Belgian naval ship Mercator came to collect Drs. Henri Lavacherry and Alfred Métraux, who had arrived six months before to carry out archaeological and ethnological work. The film, directed with melodramatic gusto and featuring a full orchestral score by Maurice Jaubert (who also did the narration), shows islanders, the monuments, and a public dance. A theme of decay and decadence characterizes the film, the motif portrayed gruesomely by extensive close-ups of the inhabitants of the leper colony there at the time. The film suited a romantic image of a mysterious lost civilization, the survivors eking out a pitiful existence on a barren rock. (Grant McCall)

poster

?

6.4

/65/

40

/3/

48

/4/

Smuggler's Ball is the English-language title for this French-Belgian seriocomedy. The action takes place along the borders separating Belgium, Holland and France. It is here that the worldly Pierre (J. P. Kieran) carries on a profitable smuggling operation, all the while romancing Siska (Christian Lenier), the daughter of a local customs official. Various subplots and secondary characters weave in and out as the plotline guides the viewer through the WW II years. Towards the end, the story shifts gears when the Benelux Frontier Agreement eliminates all government regulations. The film's screenplay is by Charles Spaak, himself the descendant of a Belgian political family, and thus well-versed in bureaucracy and red tape.

poster

?

7.5

/52/

70

/1/

70

/3/

From 1942 to 1944, Henri Storck composed his Symphonie paysanne, in which he describes the day to day life and rituals of the farmers on the rhythm of the seasons. The film is a poem to nature, a lyrical masterpiece on life and death, on animals and plants, on man and his labour.

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A 1934 documentary by Henri Storck.

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An UN produced French documentary attempting to illustrate the many causes of juvenile delinquency with particular reference to adverse environmental influence.

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A presentation of the benefits and charms of the Belgian coast.

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This montage film is composed of extracts from 35 reports filmed by Storck in 1930 in his capacity as official 'cinegraphiste' of the city of Ostend. A film about pleasure in general and the particular pleasure of being from Ostend, by day and night a city of parties and beaches, of sport and games.

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A day-of record of 30 December 1938 as Belgium mourns Emile Vandervelde—“the Boss”—with massed corteges, banners, and eulogies for the Belgian Labour Party leader, statesman, and pillar of international socialism.

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N/A

poster

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poster

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Documentary directed by Henri Storck. The film follows several groups of tourists on a visit to different sites in Belgium, the Netherlands and France. The groups tours with buses of the Ostend Department of British Travel (British Traval Office Ostend).

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1929 film by Henri Storck.

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