Cowboys, Icebergs, Anarchists and Toreadors: The Paradoxes and Possibilities of the Francophone Belgian Road Cinema
This chapter attempts to answer the questions: ‘what, and where, is Belgian road cinema?’ Doing so involves considering the European-ness of Belgian film as well as its national specificity and connection to wider French-language cultural categories and industries. This chapter analyses five films: Eldorado (Bouli Lanners, 2008), L'iceberg (Dominique Abel, Fiona Gordon and Bruno Romy, 2005), Quand la mer monte (Jeanne Moreau and Gilles Porte, 2004), Les folles aventures de Simon Konianski/Simon Konianski (Micha Wald, 2008) and Aaltra (Gustave de Kervern and Benoît Delépine, 2004, France/Belgium).Although these voyages generally engage with national culture – or cultures, in the case of Belgium – the limits of the nation-state no longer adequately contain the cultures and spaces explored in Belgian road cinema. Citizenship in contemporary Belgium is reframed as inherently linked to mobility, a stance that rejects fixed, monolithic identity formulations and the closed spaces associated with national identities and conceptions of Fortress Europe.