Domien De Gruyter

World War II drama about covert organisation Lifeline helping allied airmen escape after being shot down in occupied Europe, working with the Resistance and hiding from the Gestapo.

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The Belgian linguistics professor Matthias is going through a difficult period in relations with his girlfriend Anne. She is French, he is Belgian, and, oddly enough for an enlightened Europe and a doubly enlightened university environment, this small difference is a shadow on the couple’s personal life. One day, during a train ride, Anne disappears and Mathias goes looking for her in an unknown city.

This historical costume drama is a mini-series on the life of Flemish first-rate Baroque painter Pieter Pauwel Rubens (1577-1640), whose artistic success throughout Europe not only made him a fortune allowing him to stock his Antwerp residence ('Rubenshuis' in Dutch) and a castle at Elewijt, in the countryside nearer Brussels, with numerous fashionable treasures, but also became an ennobled diplomat for the Spanish Hapsburg rulers of the Southern Low Countries (now Belgium), who often traveled, for painting commissions and/or diplomatic missions, to and worked in Italy, France, Spain, all Catholic powers, as well as protestant England and the United Provinces (mainly Holland), also allowing him to meet other prominent contemporaries such as artists. It further covers his marriages to Isabella Brandt and Hélène Fourment.

The deeply socially engaged documentary filmmaker Frans Buyens had long dreamed of making the transition to fiction filmmaking. The experimental Ieder van Ons was a first attempt in that direction. In essence, it was an inquiry film shot in a cinéma vérité style about appearance and reality in social commitment. With Ieder van Ons, Buyens wanted to jolt the viewer’s conscience and make them aware of the duty to face the truth and to act accordingly. To achieve this, he combined a fictional plot with documentary scenes. On the one hand, the film contains acted sequences about the awakening conscience of a ruthless political figure; on the other hand, Buyens himself appears before the camera to introduce several actors, their characters, and the situations in which they are about to become involved.