A village outside Brussels is rocked when a child is killed in a hit-and-run accident and its inhabitants react in a variety of ways to the tragic news.

1983 film by Marc Didden

Twelve ordinary people are called for jury duty for a controversial murder case.

Three 'Bukowskian' torrid nights in the life of a man in search of love. Harry Voss, 12, is young and naive. Love, for him, is romantic love between princes and princesses demurely kissing each other on the mouth. His father is a hero who kidnapped his mother and married her on a lonely mountain peak... Later on, he'll do the same. But Harry has a lot to learn. He learns about 'being hot' and 'fucking' and about what you have to do when you're alone and 'feel the itch'. He also learns that there are handsome men and ugly ones, that love can be unfair. That one can find comfort in drinking... but above all he learns that man is capable of anything - absolutely anything! - to get his fair share of love. Written by mmg

一部夸张的音乐题材的电影，和《碧波女贼》差不多，都是以夸张的情节渲染气氛，以动听的音乐贯穿情节，再以一个胜利大团圆的结局在满足通俗娱乐片观众欣赏趣味的同时，也以反讽的形式对社会观念、丑恶现象提出自己的批评。尚安.韦力勤，蓝领工人，四十四岁，与妻子珊桃、十七岁的女儿玛娃，过着沈闷平淡的生活。玛娃热衷参加歌唱比赛，每个周末在父母声援下，不是参加这个就是参加那个比赛，可惜总是空手而回。尚安要帮助女儿成名，很努力为她作曲，但他对音乐一窍不通，只好把自己的旋律哼出来，录在录音带上。他费尽心机，可是在女儿心目中，他只是个头脑简单的无名小卒，对他毫不领情。 尚安因工厂倒闭失了业。他的内心充满挫折感，满怀怒气，要找人报复。有天，他遇上红透半边天的性感女歌手黛比。他打算绑架她……

Amidst the impersonal hubbub of Paris' Orly Airport, strangers meet, secrets are revealed, and sudden intimacies develop in this beautifully observed mosaic of lives in transit.
Loosely-linked scenes in the hall of Paris’ Orly airport. A man and a woman, both French but living abroad, meet each other by chance. He has just decided to move back to Paris and she longs to return there. A mother and her almost adult son are going to the funeral of her ex-husband, his father. A young couple is embarking on its first big trip. And a woman reads a letter from the man she has recently left. They are all waiting for their flight.
The departure hall is a place of transit. People are between the here and there, between the “not yet” and the “no more”. Schanelec places four couples amid the crowds of waiting passengers; the camera observes them, often from a distance. But their conversations can be heard; the ear is closer than the eye. Intimate islands of dialogue amid hectic activity. The tremendous background noise does them no harm until the music comes and infects the whole room. Cat Power sings “Remember Me”, reinforcing the atmosphere of longing, separation and transitoriness that already lingers in the air. Later, the off-screen monologue of a dying, loving man adds to it. “Love Will Tear Us Apart” – that’s what’s written at the beginning on a record cover. A farewell film.