The man who wouldn’t let go of his camera

Manu is an endearing and unsettling tribute that will resonate with those involved with the affliction and keen cineastes who remember Manu’s work.”


“At age 76 Manu suffers from Alzheimer’s. While his memory gradually crumbles, his daughter makes up the balance of his life and (often controversial) work. With warmth and – the spirit of het father in mind – a lot of humor.”

De Morgen

“Emmanuelle Bonmariage fills the holes in her fathers memory with archival footage and emotional encounters, as if she lays a puzzle that shows more and more the truth behind her eccentric father.”

Focus Knack

“The film is (…) the theater of a complex, but living father/daughter relationship, full of love and contradictions. She who bears the name of her father, who inherits his camera, chooses it as first object, or rather subject of her work, making an act of memory and transmission, between memory and future. A bit like if as ultimate present for her father who loses it, she offered him his memory on big screen.”



Sylvestre Sbille in l’Echo

“With Manu, the man who wouldn’t let go of his camera, Emmanuelle Bonmariage delivers a profound and multiple film, at the same time portrait of a filmmaker, work of memory, history of childhood love, film heritage, on the paths of the memory of a filmmaker – and a man – out of the ordinary.”

Aurore Engelen in Cinévox

“The film fascinates in that it is both an objective tribute to a huge artist, first exceptional technician, who has been able to draw an incomparable portrait of Belgium over the years. But it is also a flattening where an amnesic man is confronted with his life.”

Sylvestre Sbille in l’Echo

“Manu through the eyes of his daughter, a rich and moving documentary that even intimate him to the universal”

Michaël Degré in L’Avenir

“The documentary Manu, the man who wouldn’t let go of his camera unveils the spiritual father of the program ‘that undresses you’, whose influence continues until the recent success of Ni juge ni soumise. Look back on ‘direct cinema’, and its real stronger than fiction.”


“As much as and even more than a (very) successful documentary, Manu is an act of love. One of a daughter for her filmmaker father, a daughter who plunges in the memory of the films of Manu Bonmariage and who follows him with her never complacent camera, a fair look where affection never becomes affectation.”

Louis Danvers in le Focus VIF

Manu, the man who wouldn’t let go of his camera is a film of great accuracy. It speaks of cinema, of filiation, of death, of the disease…”

Fabrice Kada for Musiqu 3

“By making this unconscious and spontaneous gesture to give me his camera, he provoked me somehow. I could not help but turn this object towards him.”

Emmanuelle Bonmariage in Bruzz

“Emmanuelle Bonmariage manages… to question what is the heritage and to assert his place as a filmmaker without claim or settlement of accounts.”


Manu is an incarnated film, as are those of his protagonist. Some works, very few in fact, are more than useful. They are necessary. Essential even. This is one of them.”

Louis Danvers in le FOCUS VIF

“But the man is a sacred character – we have guessed it. And Manu seems made of that: of jumps, of twists and turns, of splendor and frolics.”

Elisabeth Debourse dans Paris Match

“Brilliant cameraman and famous director of numerous programs “Strip-Tease”, Manu Bonmariage finally sees a film devoted to him. At time of illness, Manu tells the story of a movie man, who was more than that.”

Elisabeth Debourse dans Paris Match