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André Delvaux is considered one of the most Belgian filmmakers. The bi-cultural identity of Belgium is at the core of his oeuvre.

In the Belgian art documentary of the 1960s and 1970s, the artist is more and more forgrounded. Not only the painter, sculptor or architect who is the subject of the documentary, but also the filmmaker. With Dieric Bouts (1975) is really a dialogue, a polemic and sometimes even a dance between the 15th Century painter and the 20th Century filmmaker.

Deze korte film van de Belgische filmmaker André Delvaux (1927-2012) toont de kwetsbaarheid van pellicule en brengt homage aan het Koninklijk Belgisch Filmarchief. This short film by André Delvaux (1927-2012) highlights the vulnerability of analogue film and brings tribute to the Royal Belgian Film Archive.

André Delvaux highlights that the origins of political Flemish nationalism are to be found in the First World War and that the consequences of political Flemish nationalism are to be found in Fascism and the concentration camps. More information on the Yser Tower, the Stone of Merckem (‘here our blood, when are our rights?) and Flemish Activism is to be found in 1914-1918 Online. International Encyclopedia of t

Set in the Second World War, André Delvaux’ Vrouw tussen hond en wolf (Woman in a Twilight Garden, 1979) evokes the tensions between cultural and political Flemish nationalism. In this scene we witness how on the verge of the Second World War, Flemish nationalism and militarism are embraced by the Flemish youth movement.

The magic realism of André Delvaux in Spa, Les Hautes Fagnes and Paris references the oeuvre of Belgian painter Paul Delvaux (1897-1994). This work has inspired other film makers as well, like Harry Kümel and Raoul Servais.

Based on a 1948 novel of Belgian magic realist writer and film critic Johan Daisne, this modernist film on a school teacher who madly falls in love with his pupil was produced by the Flemish section of Belgian national television (BRT) with additional funds from the Ministry of National Education and Culture. Although the film was initially despised by Belgian critics, it’s debuting director, André Delvaux (192