A 4th short super 8 film made by Chantal Akerman with her friends in Brussels, shot in front of the former Hotel van Cleve-Ravenstein coincidentally the place where now CINEMATEK and the archives of the Chantel Akerman Fondation are residing.

A shot of traffic in front of Palais de la Bourse, Bruxelles.

The Magnificent, city of Arabian Nights, where peace and magic reign, shelters in the shade the beautiful Dalila and her adopted children, Kenza and Morad. Dalila was robbed of her lucky light dress, and her daughter Noor was kidnapped. In turn, she steals relentlessly the inhabitants at the boot of Chakour, the thief wizard. At the heart of this conflict, a love story is born between Kenza and the wily Samir the Mercury, engaged by the Cadi to put order in the city.

In industrial Lyon of the early '50s, a widowed bar-owner listens to radio crime serials, reads detective magazines, and grieves for her daughter, killed two years earlier in a mineshaft accident. Consumed by her loss and unwilling to face the truth, the bar-owner becomes suspicious of the grim patrons in her drab tavern, seeking someone to blame as she contemplates revenge.

In the futuristic city of Nouveau San Francisco, a hard-boiled hero "the Viper" and his rage fuelled pet partner "Kitty", will attempt to stop an egomaniacal industrialist "the Jackal" from an evil plan to create a pollution apocalypse.

The film begins with a grandmother reading a story to a small child before tucking them into bed. No sooner has the mite fallen asleep than they begin dreaming of an angel standing over their bed and whisking them off to a land of giant toys. The kid wanders around for a bit before being led away by a lady who takes them to a forest where other young ladies dressed as butterflies dance around a bit.

A good shepherdess is persecuted by an evil, tantrum-throwing princess. A good fairy decides to intervene, and dishes out quite a bit of retribution.

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A shot of traffic, Place de Brouckère in Bruxelles.

A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagine his death in tableaux with text passages recited by Müller himself. "Cinema watches Death at work." Wilson's actors watch Molière die: their vigil is hard work. Müller's comment: "The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière."