Ministère de la Culture Française de Belgique

A lonely young widow lives with her son following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.

François, a Jewish lad, works for an insurance company and is engaged to a Jewish girl. His world is very ordered and secure and perhaps feels a bit claustrophobic. When he observes that a murderer has been declared psychologically incompetent and is to be placed in a mental institution, probably for the rest of his life, François feels the murder's plight very keenly. As time goes by, the murderer's situation is more and more unbearable to him, and he breaks off his engagement. Afterward, he has a liaison with a girl he has not known before, an act that somehow frees him. Now he wants to free the murderer somehow.

Henri Storck: “The General Commissariat for Tourism had organized a ‘Year of Folklore’ and, on that occasion, asked me to make a series of films devoted exclusively to this form of popular culture.” 1.Carnaval van Oostende - 2.Vastenavond te Aalst - 3.Carnaval van Malmédy - 4.Straattoneel in Malmédy - 5.De Gilles van Binche - 6.Meiboomplanting en Passiespel door de marionetten van Toone in Brussel - 7.Heilige Bloedprocessie in Brugge - 8.De 'witte Moussis' van Stavelot en de kermis van Bergen - 9.Passiespel in Lessen en Ligny. Halfoogst-feesten in Outre-Meuse (Luik) - 10.De Chinels van Fisse-la-Ville. De 'Grootjes' van La Louvière. Het ontploiffen van Kruipotten in Luik.

The documentary's legacy lies in its unapologetic fusion of agitprop and satire, a signature style of De Hert’s Fugitive Cinema collective. By juxtaposing Mandel’s economic theories with absurd military parades, the film exposes the contradictions of a society preparing for war while its social fabric decays. De Hert employs rapid montage, pop music, and street-level interviews to strip away the facade of state authority.Decades later, Le Filet Américain remains a vital historical document. It captures a specific era of Belgian polarization, marked by economic crises and the rise of the gendarmerie. The metaphor of the meat grinder endures as a powerful critique of how institutional systems compromise individual dignity for corporate profit.