The city of Liège in Belgium's Walloon region is grey. The air seems forever stained by the heavy mining that for years made its inhabitants rich and sick. Here lives Rosetta (Émilie Dequenne), a young woman trying to keep herself and her alcoholic mother afloat with measly jobs while saving up enough money so she can, finally, leave the trailer park she's forced to call home.

“Your name is Rosetta. My name is Rosetta. You found a job. I found a job. You've got a friend. I've got a friend. You have a normal life. I have a normal life. You won't fall in a rut. I won't fall in a rut. Good night. Good night.”

– Rosetta

Directors Jean-Pierre and Luc #Dardenne once described this film as a war movie. It's pained, like the voices from the trenches that still scar the Belgian landscape. The camera – Alain Marcoen's – close, as if were following the girl through a rifle's scope. And raw, like the open wounds left behind by the mining companies.

– You know what's really awful?

– No, tell me.

– Getting hooked. It's the end. But, if you only take one shot every once in awhile. Its no different than an occasional drink or cigarette.

Jeanne Dielman routinely prepares meals, cleans the house, mothers her teenage son, and entertains men. Then something breaks and her carefully nurtured practices slowly unravel.

“I could have made mashed potatoes, but we're having that tomorrow.”

– Jeanne Dielman

– Does he crawl on four legs? What does he eat and drink?

– I've given him water to drink on occasion. He would never eat me.

In typical Western fashion the credits for William Klein's Festival panafricain d'Alger focusses on the French and American participants. After Algeria regained its independence in 1962, it became Africa's – and the #AfricanDiaspora's – centre for postcolonial and liberation moments.

“À bas le colonialisme ! À bas l'imperialisme !”

The 12-day Festival panafricain attracted 5000 people from all over the African continent, as well as liberation fighters from the United States.