[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F1673781:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":7,"birthday":8,"deathday":8,"gender":9,"homepage":8,"id":10,"imdb_id":11,"known_for_department":12,"name":13,"place_of_birth":14,"popularity":15,"profile_path":16,"combined_credits":17,"images":72},false,[6],"Autofasurer","Brecht Debackere (born in 1979) is an audiovisual artist. He studied at the Fine Arts Academy in Bruges, audiovisual art at RITCS (Brussels), and image and media technology at HKU in Hilversum; he also holds a Master of Arts degree in Image Synthesis and Computer Animation. Since 1995, he has worked in fiction film, animation, motion graphics, and the exploration of applications such as video synthesis, interaction, and concept development.\n\nUnder the name Autofasurer, Debackere worked on experiments in abstract design and the integration of design with video synthesis and programmed systems. He also collaborated with multimedia artist Boris Debackere, who specializes in sound, interface, and software design for live music performances. Together, they developed live cinema pieces. Through his work, he explores the tension between physical, representational, and virtual space, seeking to uncover the intrinsic characteristics of virtual space.\n\nHe also worked with Visualantics, a Belgian foundation and production house he co-founded, on more figurative and documentary-oriented projects, ranging from animation to music videos. 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To celebrate cinema’s 50 year existence, they put together a side program showcasing the medium in all its shapes and forms: surrealist film, absolute film, dadaist films, abstract film,… The side program would soon become a festival in its own right: ‘EXPRMNTL’, dedicated to experimental cinema, and would become a mythical gathering of the avant-garde…",0.9294,"\u002FfKEmZzYnRdq19VhI93BKrL4Ixaw.jpg","2016-10-08",0,"57caa048c3a3685c25001ff1","Writing","Screenplay",{"adult":4,"backdrop_path":40,"genre_ids":55,"id":43,"title":44,"original_language":45,"original_title":44,"overview":46,"popularity":47,"poster_path":48,"release_date":49,"softcore":4,"video":4,"vote_average":50,"vote_count":50,"credit_id":56,"department":12,"job":57,"media_type":38},[42],"57caa040c3a36872b90019cd","Director",{"adult":4,"backdrop_path":59,"genre_ids":60,"id":61,"title":62,"original_language":45,"original_title":62,"overview":63,"popularity":64,"poster_path":65,"release_date":66,"softcore":4,"video":4,"vote_average":50,"vote_count":50,"credit_id":67,"department":12,"job":57,"media_type":38},"\u002FkPq3J9vYlAl8hi2OTZC2w1h1OSx.jpg",[42],1688861,"Nostalgia for the Future","The evocative narration of Charlotte Rampling guides a descent into the labyrinthine world of Chris Marker, the best-known author of unknown films, who spent a lifetime concealing himself behind a veil of pseudonyms and images of cats. Moving through a constellation of personal documents and film fragments, an archivist attempts to decode the man through the material traces he left behind.",1.9778,"\u002FfAj2RjFFOE9AJQgFwsKrQl6BE5Q.jpg","2026-05-18","69fa72a73b15ec956eb9a680",{"adult":4,"backdrop_path":59,"genre_ids":69,"id":61,"title":62,"original_language":45,"original_title":62,"overview":63,"popularity":64,"poster_path":65,"release_date":66,"softcore":4,"video":4,"vote_average":50,"vote_count":50,"credit_id":70,"department":52,"job":71,"media_type":38},[42],"69fe44483a1a6c6ee2878d05","Writer",{"profiles":73},[74,78,82],{"aspect_ratio":75,"height":76,"iso_3166_1":8,"iso_639_1":8,"file_path":16,"vote_average":50,"vote_count":50,"width":77},0.667,2131,1421,{"aspect_ratio":75,"height":79,"iso_3166_1":8,"iso_639_1":8,"file_path":80,"vote_average":50,"vote_count":50,"width":81},1461,"\u002FAwkz2iAGQvqj5RzADkl2mBtLSuF.jpg",975,{"aspect_ratio":75,"height":83,"iso_3166_1":8,"iso_639_1":8,"file_path":84,"vote_average":50,"vote_count":50,"width":85},750,"\u002Fj4Vn3MKofFDqTjIzRlTKUxWlrRE.jpg",500]