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Béla Tarr: Till the End of the World
04/01/2017 - 16:03

EYE Amsterdam’s new exhibition revolves around Hungarian filmmaker Béla Tarr and runs from 21 January until 7 May.

Tarr considers [his last film] The Turin Horse (2011) to be a film about the end of the world and thus, at the same time, the end of his own filmography. He could not imagine ever making another film that was more pared down and heavier, more reduced to its essence, than The Turin Horse. Since then, Tarr has run a film school in Sarajevo. For the exhibition at EYE, however, he has once again picked up the camera to film two new scenes. His anger at attitudes to migrants among people in Europe, and particularly in Hungary, has compelled him to make a statement.

[...]

Tarr has developed an exhibition that is a cross between a film, a theatre set and an installation. He wants to give a voice to the vast numbers of migrants who have been left stranded in Europe over the past two years. In his films Tarr has always presented the downside of progress, the other side of the coin. It therefore comes as no surprise that he feels called upon to make a statement against the inhuman treatment of thousands of migrants who are trying to give their lives a dignity that – in Europe – is denied them. (EYE)

Mikio Naruse Retrospective at EYE Amsterdam
04/01/2017 - 12:27

 

From 12 to 29 January EYE Amsterdam runs a Mikio Naruse Retrospective. 

“Neither in his early experimental period nor in the mature postwar films did Naruse achieve a mastery of a specific visual style to merit comparison with the work of Mizoguchi or Ozu. Nevertheless, he commands respect as the architect of subtle and profound realist dramas, distinguished by careful observation and superb acting. His genre is the shomin-geki—the film about the lower middle classes—within which his specialities are the precise delineation of social milieux, of material hardship and practical responsibilities, and ‘the compassionate portrayal of courageous women faced with great adversity.’ While nothing in Naruse’s oeuvre matches the radical feminism of My Love Has Been Burning (1949), his heroines are generally more independent and practical, less prone to romantic self-oppression, than Mizoguchi’s suffering women. Yet independence and practicality are virtues of limited significance in Naruse’s treacherous and unhappy world, which tends to crush its inhabitants regardless. His characters lack the hope and good humour of Ozu’s in the face of disappointment, and, unlike Mizoguchi’s protagonists, they are usually denied the luxury of death.”

Alexander Jacoby in Senses of Cinema 

 

Book sale at CINEMATEK
18/11/2016 - 19:17

CINEMATEK organizes a book sale on Friday 9 December from 13h until 18h and on Saturday 10 December from 10h until 18h in their documentation centre.

More information here!

 

 

 

 

 

More Events
26/01/2017 - 19:00 to 21:00
CINEMATEK (LEDOUX), BRUSSELS
28/01/2017 - 18:00 to 19:15
CINEMATEK (PLATEAU), BRUSSELS
28/01/2017 - 19:00 to 20:00
Cinema Nova, Brussels
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