Cheb moves into a squat with two friends. One evening he learns of his mother's death. His father especially thanks him for the many postcards he sent to Morocco from Brussels. His mother had kept them all carefully. Cheb then wonders whether he should not return to Morocco. In the meantime he does go to work in the Brussels Metropole hotel. There a surprise awaits him. There are many layers in Cheb. You can view the film as an ordinary faits diverse but also as a subtle play between the real Brussels and the Brussels of the postcards. Didden plays that game devilishly well. Stylistically, he dares to take more risks than his predecessors. You notice that when he shouts out Cheb's insecurity with a moving and frolicking camera. Willy Stassen photographs Brussels in an enchanting way and performing Josse De Pauw again gives Bruxelles, mon amour some extra cohesion. A document for the Brussels image archive.
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