Adoration (1987) Disturbing portrait of a true-crime case of cannibalism.
Rapture (1999) Smolders takes excerpts from the theological writings of Therese d'Avila, and again applies static images to prose that chronicles the rules of preparing for and submitting to a rapture. The subjects are again beautiful young women who function as novitiates that Smolders photographs from increasingly closer camera positions, until their blank expressions serve as similarly emotionless tableaux for d'Avila's clinical prose.
Death at Vignole (1998) Smolder's autobiographical is drawn from his home movies and inspired by a personal tragedy. Smolders maintains compact narratives that aren't indulgent, prolonged, or pretentious, and whatever filmmaking tools he applies master shots vs. heavy montage, for example they're appropriate for each film's subject matter, and tone.
Vanishing Point (1988) The director's cheeky sense of humour pops up in this rich colour short, wherein a class plays a particularly naughty trick on a teacher, whom Smolders uses as the straight man victimized by the class' wicked sense of play. The compositions are clean and stark, and Philippe Marion's score almost mocks the teacher's efforts to teach the kids no matter what's going on.
The Amateur (1997) This short deals with an amateur photographer's quest to catalogue nude women on film, while simultaneously capturing their vulnerabilities, self-loathing, pride, and contempt for the photographer, often seen setting up the corner where the women will pose, or placing objects in front of the camera as symbols linking himself to whatever theme or personality he's hoping to test.