Jan Bucquoy

In this pitch black comedy the rivalry between two neighbors escalates into an all out war. Through a maintenance error on a tractor they both end up, paralyzed, in a wheelchair. It seems they are doomed to stay together. They no longer focus their rage on each other but on the manufacturer of the tractor, in Helsinki. So get ready for a hilarious wheelchair road movie.

Homo Cinematographicus is a human species whose unit of measurement and point of reference is the cinema and its derivative, television. Filmed at the 1998 Cannes Film Festival, the film offers an unspecified number of statements, talking about memories and a thousand fragments of stories, titles and film scenes, the warp of a gigantic collective Chanson de geste.

Two men, fifty years young, seduce younger women at the Cannes Film Festival and are quite successful as long as there are no youngsters among them.

Revolution isn't a piece of cake, not even for Noël, the anarcho-burlesque agitator and imperial troublemaker of the international pastry world. And since the road from the great night to the radiant dawn is long, you might as well do it in a Cadillac. Provided, of course, you can find one, because Cadillacs are like the Indignados: the more you talk about them, the fewer you find. But when it comes to getting behind bars, it's still classier than a cell in La Santé prison. Jean-Marc wouldn't disagree. A persevering man, Jean-Marc, not the type to give up. With him, you have to be content with a lot. Long drawn to direct action, he discovers with Noël the charms of a guerrilla revolution. And together they lead us down the back roads, beyond the barriers, guided by the Muses and by chance encounters, irresistibly drawn in by the quest for a better world.

A cinematographic “cadavre exquis”, whose entrails reveal the odd nature of a (un)certain Belgian cinema. Authors, directors, actors who have proved that imposture could be an act of creation. Convinced that any so-called “new” cinematographic production was in fact a rehash of what had already been made, these pirates of images snuck as forgers, liars, tricksters, usurpers, … Outlaws of the cinema who falsified its form. From the filmed imposture of Man Bites Dog to Jan Bucquoy’s fabulist biopic, everything participates in the dynamiting of institutional language through simulacrum and absurdity. This free journey in the “cine-belgitude” has for vocation to approach these marvellous eccentrics followers of a overexcited and stripping situationism.

Noël Godin and his supporters throw a pie with cream into the face of Daniel Toscan du Plantier in the Palace of the Film Festival of Cannes 1996.

Director Jan Bucquoy has a bunch of actors read from the Guy Debord novel which shares the same title. Slowly but surely real life an Debord's reflections upon it start to diffuse.

Jan Bucquoy, a filmmaker, is confronted with the failure of his romantic and ideological life. To gain clarity, he embarks on a film project centered on the theme of couple life and its ups and downs. Through the project, he meets two intelligent, free-spirited, and independent young women. Unbeknownst to them, they will play a catalytic role in helping Jan start a new life, rising like a phoenix from the ashes of the Old World.

In this semi-autobiographical film director Jan Bucquoy revisits his love life accompanied by his former love interests.

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