Belgian cinema has long been an underdog, with its key figures stolen by either the Dutch or (Mostly) French film industry. It was involved in early cinema with figures like Charles Tutelier, Hippolyte De Kempeneer, Charles Dekeukeleire and Henri Storck, but it took until the 1960s for the first real auteur to emerge, Andre Delvaux. Often referred to as the father of Belgian cinema. Delvaux’s films, such as “The Man Who Had His Hair Cut Short”, combined surrealism with a deep exploration of the human psyche, setting a high standard for the narrative and artistic quality of Belgian films. This period also saw the rise of filmmakers like Harry Kümel, whose works like “Daughters of Darkness”, gained international acclaim.

The 1970s and 1980s marked the emergence of a new generation of directors, including Chantal Akerman, whose avant-garde approach in films like “Jeanne Dielman” challenged conventional storytelling and placed Belgian cinema on the global map. Belgian cinema has remained steady, especially thanks to the international success of the socially conscious dramas of the Dardenne Brothers.