Angèle: The Belgian Singer That France Is Going Crazy For 

Her album has gone two-times platinum in France, she’s the only Belgian singer to beat Stromae’s record for most weeks at the top of the Belgian singles chart, and she’s only just getting started in her career. Angèle is a singer-songwriter and musician spinning heads all across Francophone nations with her unique voice. Her songs have become millennial-girl anthems because of her sincerity, sweet disposition, and entertaining videos.

At just 23 years old, the singer has already developed a very recognizable style. Her music is easy listening, her videos are funny, and the genuine nature and authenticity play a huge role in her popularity. For example, the cover of her first album Brol is a little girl smiling to show that her baby teeth have fallen out. For this kind of bluntness and plenty of Instagram videos of poking fun at herself, Angèle has become the singer du jour.

Like a modern-day Françoise Hardy, Angèle depicts a certain innocent reality in her songs. “Tout Oublier,” featuring her rap-artist brother Roméo Elvis, broke a whole slew of records on Belgian singles charts, winning the artist awards and recognition. With an existential vibe the song features a questioning of the simplicity or complication of happiness — a message resonates with Angèle’s audience (and most millennials these days).

Source: Angèle: The Belgian Singer That France Is Going Crazy For – Frenchly

The Dardenne Brothers – Masters of Social Realism

2014

Rear Window. 2014.
Filmmaking brothers Jean Pierre and Luc Dardenne are known on the world film circuit for their social realist dramas, set in the former industrial city of Liege in Belgium. Film critic Emilie Bickerton talks us through their early career and their later obsession with the plight of working class people in their home city. teleSUR

Laetitia Dosch : la belle et la bête

It may be a story of skin, porous membrane between oneself and the world. The skin that Laetitia Dosch has diaphanous, like most redheads, but that’s not the reason why this delicate, almost transparent envelope seems to work as a sensor. Rather a matter of sensitivity, obviously. On this evening of June, the young woman vibrates with all her being , under the big pines of the Domaine d’O, in Montpellier, at the exit of the representation of Hate  : a creation of which she signs the text and the staging, in which she plays, and which, after Lausanne and Montpellier, arrives at Nanterre, where it is not necessary to miss it .

The show is in his image: a total singularity. The beautiful, out of a painting Botticelli, plays, skin against leather, with the beast. In this case a horse named Corazon (“heart”, in Spanish), with a gray trout dress. They are both naked, which is more noticeable at home than at home. It would seem that Laetitia Dosch does not do anything like another, from the beginning.

“I’ve always been the weird of the family,” she says. Its heterogeneous environment and Catholic ultratraditionnel 8 th arrondissement of Paris. “At the same time, my family was strange, in its way, we lived with my grandparents, uncles and aunts, and in the middle of animals, alive or dead. At home there were two parallel worlds: the adult ones, and the animals and me. But it’s good that I have fallen in the ” cathos ” , like that, I could not reproduce any scheme, “she says with this light humor, falsely naive, which characterizes it.

Squeaky Spirit

It is indeed in her private Catholic high school, however, that she discovers the theater, which saves her from a lonely and mute adolescence. And it is in the theater that she plunges, with lost body, she who appears today as one of the muses of the young French auteur cinema. With an eclecticism, a curiosity, an originality that make him make the difference between very different forms, which nevertheless still marks his identity.

She played Shakespeare alongside Eric Ruf, the boss of the Comédie-Française, or under the direction of the director Mélanie Leray, while ferreting into the much more experimental and performative world of choreographers Marco Berrettini and La Ribot. And she wrote her first show, Laetitia makes a fart … , parody of stand-up, where she plays a humorist a little weak, who makes jokes about the old, the Jews and the Blacks. Laetitia Dosch does not mind having a squeaky mind. [ . . . ]