Editing
L’Étreinte (1969) is a sharp, provocative Franco-Belgian psychological drama that masterfully subverts power dynamics through an erotic lens. Heavily inspired by The Story of O, the film tracks Gisèle, an innocent runaway who becomes a housemaid—and subsequent sex slave—to Michel, a wealthy playboy. What begins as a classic tale of bourgeois exploitation takes a radical turn when a visiting friend awakens Gisèle to her own alienation. In a striking third-act shift, the film flips the master-servant dynamic, leaving the oppressor completely subjugated by his former victim..
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.
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."
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.
Flying over the city’s roofs the voice of an African storyteller takes us from one encounter to antoher in the everyday life of Brussels’ Zairians. In Northern « Matongué » they search continuously for their country through music, colors and words. By successive touches a mosaic of faces and silhouettes is filling the quietness of the district. They live with us. They walk in our streets. They dream in our walls. However, our eyes rarely meet.
Starting in Germany before crossing into Austria, Slovakia, Hungary, Bulgaria and Romania, Vers la mer (To the Sea) is a documentary-voyage filmed in black-and-white by Annik Leroy, as she traces the River Danube from its source to the estuary of the Black Sea.
The sea and the beach of Ostend. A gentleman walks along the water and scans the horizon with his binoculars. He meets a lady who is paddling. She notices a strange object floating on the waves. Intrigued they will try to fish it out of the water ...
Film director Boris Lehman returns to Lausanne, where he was born on 3 March 1944, at the end of the war.
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.
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.
"It's a very simple story, shot in a quiet street in Brussels. People waiting for the bus that is late, talking to each other, trusting each other, talking about the weather and giving each other practical tips. It is life as it is, in its troubling banality, that Van Antwerpen shows us. " (Luc Honorez, Le Soir, 1974).
The man carrying his body, his reels of film, his bag and his old Nikon, is Boris Lehman, he's also Sisyphus, Jesus Christ, and Ixion as told by Alfred Jarry in La Chandelle Verte. An essay on heaviness and lightness. The carrying man would like to fly, vanish into thin air, into light. When he meets another machine-man, who carries electronic pictures, his dream will come true.
Through many photographs, he tells the story and allows his story to be told by those photographed. This is where the brilliant documentary reversal takes place.
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).
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.
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.
This polyphonic film by the Belgian film artist about the history of Europe and art is an unforgettable, sensual journey between memory and nightmare. To a meditative, threatening soundtrack, we hear a series of monologues by poets and crazy people, mothers and children. Meanwhile, the image forces the eye to reflect on what and where.
