Nicolas Fransolet

Official music video for “Wendy (Remix)”, the electronic reinterpretation of the Delta V track by Italian singer-songwriter Mao, released on 31 July 2026 as the closing chapter of the album “In fatti ostili RMX”. Mao’s remix holds the voice back for almost two minutes while the arrangement circles and expands, projecting the original songwriting into a nocturnal and rarefied space. Directed by Brussels-born, Montreal-based filmmaker Nicolas Fransolet and shot entirely in Tokyo, the film has no protagonist and no narrative. It follows the city through a single arc of hours, from daylight into night, moving inside the flow of streets, stations and suburbs. The images are observed rather than staged: what appears on screen is what happened in front of the lens. What emerges is the portrait of a place at once distant and familiar, where the vast scale of the metropolis and the smallness of individual gestures inhabit the same frame. Proximity and connection almost never coincide.

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A pair of high-frequency traders go up against their old boss in an effort to make millions in a fiber-optic cable deal.

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Somewhere in Sub-Saharan Africa, Komona a 14-year-old girl tells her unborn child growing inside her the story of her life since she has been at war. Everything started when she was abducted by the rebel army at the age of 12.

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Scene 23, Slow pan The wind whistles over the dykes of the Willebroek Canal. Armand sighs. The viewer should feel goose bumps under their thick sweater. Make it clear that at this moment, Armand is craving a cup of Borain coffee. Scene 456, Armand's farm Armand puts down his coffee cup. Through the window, he sees a beautiful Romanian refugee with AIDS playing the cello in the beet field. Behind Armand, his wife, a former RTBF announcer, commits suicide by hitting herself with hot potatoes. Scene 2,347, sublime landscape of Flanders Armand can't take it anymore: will he choose the position of deputy for the Vlaamse Blok or that of puppeteer subsidized by the CUCF? No one can say.

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