Michel Houssiau

Michel Houssiau

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Most Known for...

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The Year 01 1973 (6.5)

The film narrates a utopian abandonment, consensual and festive of the market economy and high productivity. The population decides on a number of resolutions beginning with "We stop everything" and the second "After a total downtime will be revived-reluctantly-that the services and products including lack will prove intolerable. Probably: water to drink, electricity for reading at night, the TSF to say "This is not the end of the world, this is an 01, and now a page of Celestial Mechanics". The implementation of these resolutions is the first day of a new era, Year 01. The Year 01 is emblematic of the challenge of the 1970s and covers such diverse topics as ecology, negation of authority, free love, communal living, rejection of private property and labor.
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Family Pack 2001 (4.6)

A young woman tries to ease herself out of the closet without terrifying her parents in the process in this comedy-drama. The year is 1969, and Sacha (Marie Bunel) is a young Belgian woman living in Canada. Sacha's family sent her to Canada to attend medical school, but she hasn't had the heart to tell them that she's dropped out of college to devote herself to her new interest in photography. Sacha also hasn't told her parents that she's a lesbian -- and that she has a new girlfriend, Odile (Macha Grenon). Odile is tired of being kept a secret, and insists that Sacha tell her parents the truth before American astronauts land on the moon in a few months -- or else. Sacha flies home to Belgium for a visit, planning to come clean to her folks, but she discovers they've arranged a huge welcome home party for the entire neighborhood. With everyone so excited that the soon-to-be-doctor is paying them a visit, Sacha wonders when the time will be right to give her family the news.
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Brussels-Transit 1982 (6.1)

Samy Szlingerbaum made his film Dakh-Brisel (Brussels-Transit) in 1980, thirty years after any Yiddish feature film had been produced. Szlingerbaum felt that the only way he could relate the story of his family’s search for refuge after World War II was in Yiddish. This Belgian-based filmmaker, deeply impacted by New York experimental cinema, gives us a masterful blend of powerful drama and stark documentary to tell the story of postwar European Jewry. Home, as it had been, no longer exists, and all that Samy’s family wants is a place in which to sink new roots.