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  • Trains de plaisir
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  • Language no dialogue

Trains de plaisir

Henri Storck, Belgium, 1930, 8’

The beach and its sunbathers. A series of sketches and portraits, small moments that culminate in a wry, loving portrait of a Sunday at the beach.

Trains de plaisir (Henri Storck, 1930)
Trains de plaisir (Henri Storck, 1930)
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Harmony by the Sea

Henri Storck’s Trains de plaisir (1930)

Bjorn Gabriels
30.10.2022
essay

Earlier in 1930, Storck was entitled ‘official filmmaker of the city of Ostend’. Allowing him to—next to his sales and administrative work in his late father’s shoe shop—take to town and record gentlemen in bespoke suits, seated in beach chairs with legs extended off the ground in an attempt to keep their precious shoes from touching the water, as seen in Trains de plaisir. The twentysomething had been tasked with capturing day-to-day life in Ostend, to be screened in theater. He himself, however, negotiated room for personal work and experiment.

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Credits

Script
Henri Storck
Camera
Henri Storck
Editor
Henri Storck
Music
Hughes Maréchal
Producer
Henri Storck
66
documentary humour portrait

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À l’usage des vivants

Pauline Fonsny, Belgium, 2019, 28’

In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice.

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Mars, Oman

Vanessa del Campo, Belgium, 2019, 20’

Oman’s vast plains look so much like Mars that they are used as a training ground for astronauts. Two local girls gaze at the starry sky like curious scientists while the astronauts philosophise about living on the Red Planet.

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Devotion

Cynthia Madansky, Turkey, 2003, 34’

A sparing and minimal travelogue of Istanbul. A foreigner meditates on the unraveling of a relationship while moving from hotel room to hotel room. In a city simultaneously devoted to Islam and secular nationalism, she finds refuge in the frailty and severity of rituals.

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Noonlight

Kayt Schneider, Belgium, 1991, 10’

Passing through the Noon Market in Brussels, filmmaker Kayt Schneider captures the peaceful, poetic coexistence of people and cultures.

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Pirate Boys

Pol Merchan, Germany, 2018, 13’

Punk author Kathy Acker’s work is the starting point for a conversation about gender identity and body transformation and is linked to the punk movement of the 1970s and 1980s.

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The Living Wardrobe

Martí Madaula Esquirol, Spain, USA, 2024, 18’

Martí arrives in Bilbao for an artistic residency. In his new room, his clothes occupy only a small portion of the enormous wardrobe. But when he meets someone, the wardrobe slowly begins to fill up. Where has the emptiness gone, the free space, the little corner that was his?

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Loveboard

Felipe Casanova, Belgium, Switzerland, 2023, 17’

A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.

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D’un château l’autre

Emmanuel Marre, Belgium, 2018, 40’

Pierre, 25 years old and on a scholarship for a prestigious Parisian university, is lodged by Francine, who is 75, disabled, and confined to her wheelchair. Both puzzled and disoriented, they witness the French presidential elections of 2017 play out.

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