Kaatje Aerts, born in 1977 lives in Anderlecht, has Belgian roots and is a teacher.

Loves the multilingualism and diversity of Brussels, cycling, but finds cleanliness and drug use on the streets a real challenge. For her, Brussels is the beauty of Mont des Arts, places like the KBR, the protests against terraces in public spaces and for the Marchant Bridge.

Her questions to the future are about education, climate, continuation of Good Move and living together.

Julie Van Landeghem, born in 1995, lives in Brussels, has Belgian roots and is an artist. Loves the fact that she learned more from Brussels than at school in Flanders.

For her, Brussels is fragmentation by the Flemish and French-speaking communities when it comes to culture and arts organisations, for example, but also the enormous richness of living together.

Her questions to the future are about women's safety on the streets, a humane newcomer policy and ecological food production in the city.

Mohammed El Arbi, born in Brussels in 1997, lives in Brussels, has Moroccan roots and works as a security guard. Loves the proximity of everything.

Brussels for him is Europe, international, e.g. NATO, and also a workplace for many, for locals, expats and commuters.

His questions to the future are about traffic, politics and taxes.

Ali Bounaana, born 1985 in Brussels, lives in Saint-Josse-Ten-Noode, has Moroccan roots and is an educator in a school. Loves sports and reading. Is preparing to move to Aalst because he no longer finds it pleasant in Brussels: he experienced a break-in in his house, in his car, damage to his bicycle. For the sake of security and the changed public, he is now moving away.

Brussels is still important to him for going out to restaurants with friends. Has good memories of Océade and would like to visit the Sewer Museum one day.

His questions about the future are about cars in the city, education and how young people behave.

Zoé Vandenberg, born in 1999, lives in Etterbeek, has Belgian roots and is a law student and also works as a research assistant at ULB. Loves the Brussels friteries, the idea that there are still so many places and groups of people to really discover. For her, Brussels is the different neighbourhoods, but she has a special bond with Anderlecht and the Marolles because she grew up there as a child: places she also sees gentrifying.

She loves the Christmas market and the Foire du Midi and library of her childhood.

Her questions to the future are about climate, the place of the car and the authenticity of Brussels.

Chantal Leonard, born in 1967 in Liège, came to Brussels when she was 2 years old, lives in Berchem-Sainte-Agathe, is a teacher.

Brussels for her is the changing much more diverse population, Stromae, Grand Jojo, the attacks.

Her questions to the future are about commerce and small-scale, cultural life and mobility.

Dries Deridder, born in 1999, lives in Etterbeek and studies engineer at the VUB. For him, Brussels is mainly for studies, because at the weekend he still goes to his parents in Limburg.

Finds Brussels very multicultural, but also hopes that Brussels will remain Belgium enough in the future.

Other questions he asks about the future are about poverty and mobility.

Presentation, the interviewee is an artist and psychologist. He talks about his youth in the Congo. People lost confidence; the Mobutu era was different.

Dad's heroism, political situation. The role of cinema in identity-building: bringing people together. The country's cultural policy.

If you had to make a film about a hero, who would it be? Lumumba, Kasavubu. Discretion of the Bas-Congo.

Artists analyze collodium photography in relation to colonality. The Colonial Machine.

The image of self and country. Education in relation to colonization: children are taught a false history. Problems, war. How to emancipate oneself from the dominance of the Western imaginary.

Congolese artists talk about contemporary movements, activism and identity. The role of language.

Congolese actress recounts her visit to the Tervuren Museum: the shock, the lie of colonization, the lack of respect for her ancestors, her hot tears.

Congolese artist talks about the role of language in relation to the heroism of her parents and herself.

Congolese artists talk about childhood, how education happens and should happen. Our culture has been blocked and replaced by Western science. We have our science, our fetishes, in the villages. They have soul, we have a lot of power. Passing on to children, workshops: the fables of La Fontaine and the tales of my homeland; my father's stories, African wisdom. Today we have to go back to basics; the real story. On summer vacations in the village, my grandfather used to tell stories. You can't talk about decolonization without talking about colonization: it's a lived experience, and you can still feel it in racism. These stories are important. Accepting difference. We can be stronger by being together. Utopia?

Artistes Congolais : à qui est-ce que s'addresse l'héroisme, la question décoloniale: aux colonisateurs ou aux colonisés. Qu'est-ce qui nous emprisonne encore? Je m'adresse au continent Africain.

Explication du projet, ajout à la base de donnée de BNA. Il commence par faire du cinéma lors de ses études à l’INSAS comme cameraman. ll s’intéresse alors aussi à la réalisation car il a l’intention de faire des films documentaires de voyage et c’est à ce moment précis, en 1974, qu’il entend parler du Festival National Du Film Super 8. Il participe avec le film “La Faim d’un Monde” pour lequel il reçoit le prix de la meilleure bande sonore ! Et c’est le Festival même qui l'amène à faire la rencontre avec le format Super 8, support qu’il utilise à plusieurs reprises à l’époque. Description de sa fiction expérimentale, ancré dans l’esprit des années 70, drogues, hallucinogène, communautaire.

Quels souvenirs du festival? Il participe à plusieurs éditions (74,75,77,79,80). Son souvenir du Festival est positif. Il se souvient d’un public réceptif, varié et d’une chouette ambiance. Son expérience du Festival l’a encouragé à faire des projets plus professionnels dans sa carrière. Quant au Super 8, pour lui ce format était le moyen le plus cohérent, par son accessibilité, avec les moyens restreints de quelqu’un encore étudiant et qui souhaite faire du cinéma par lui-même. Autre film documentaire, Il y a un flic au fond de chacun de nous, sur les dérives policières, avec Alain Berenboom, Professeur Choron, des gens d’Hara Kiri. Détails techniques sur le film, caméra avec son intégré, il faisait tout, l’image et le montage. Autre film : Alertez les bébés, c’est son dernier film. Saturday Night Suicide : fiction. Film sur le suicide, la mort l’a toujours interpellé. C’était peut-être à l’époque de la guerre du Viet Nam. La fureur de vivre : Remake. Reportage, 1975. De mémoire un long plan séquence des voitures qui rentrent dans le tunnel de la petite ceinture. Ventilateur N°3. Reportage expérimental. Tourné à Bali et à Java en 1979. Successions d’images très saccadées, puis long plan séquence d’un homme qui danse. Actualités de la RTB en bande-son, marée-noir en Australie.. Deuxième long plan séquence, quelqu’un sort de l’eau tout habillé. Il a fait du 16 mm aussi, un film sur les avortements clandestins, une associatiopn qui pratiquait, pour éviter l’usage des aiguilles à tricoter.

Quant au Super 8, pour lui ce format était le moyen le plus cohérent, par son accessibilité, avec les moyens restreints de quelqu’un encore étudiant et qui souhaite faire du cinéma par lui-même. Le Festival l’a encouragé à continuer. Pendant sa carrière Herman Bertiau pratiquera tantôt le cinéma, tantôt la photographie, à qui il dédiera la majeure partie de sa carrière. Il part chercher des archives papier des festivals.