article FR EN
17.01.2018

Poetic by its precision, attentive to duration, to the uncertainty of the moment, to outlined movements and to what they betray or control: Hong Sang-soo’s cinema seems to consist only of details, of contingent moments that suddenly get out of hand or explode. “I never aim for generalization; there’s never a global view on society at the origin of a film or even a shot. It seems to me that reality can only appear between the cracks of discrete, hypothetic, uncertain elements. I am wary of clichés and big expressions. I do not believe, for example, that something we could call ‘the’ contemporary Korea exists. I never try to share a truth, but only approximations.”

article NL EN
13.12.2017

Whether or not this film is fully as great as it might have been, it is one of the finer works in the whole great line of rural art which extends backward through Van Gogh and Brueghel to the Georgics and to the Works and Days. It combines the cold deep-country harshness of Hesiod with a Vergilian tenderness and majesty; and its achievement is wholly of our time, through that reverence for unaltered reality which can be translated into a work of art only through the camera.

article NL EN
15.11.2017

The Neon Demon is a textbook example of those supremely ‘relevant’ films, guaranteeing and commercialising subversion as a calculated effect. Refn offers us a neatly prepacked metaphor, supplemented with an astrological index that can help us in ‘decoding’ our product – even before the slightest attempt at interpretation is waged. By way of an absurd faith in difference, however, a ceaseless repetition of the Same ensues: an alternation which, above all, serves to camouflage a true sense of change. The director can but excel in the reproduction of his personal obsessions. Not without surprise, his films are as ephemeral as the world they claim to depict.

article NL EN
15.11.2017

Without any sense of scruples, contemporary viewers are asked to consume an “unfiltered everyday”, gowned in the guise of a “mythical seriousness”. The mendacious diversitarian theatre enacted by El Arbi and Fallah – which attempts to import an allegedly ‘copious’ but ultimately imaginary world into the cosy, autochthonous bedroom – can only be celebrated by grace of a critical suicide.

article NL EN
08.11.2017

At first it seems like a contradiction, a historical irony: Jean-Louis Comolli – the editor of Cahiers du Cinéma during its period of Althusserian Marxism in the late 1960s and early 1970s, the author of some of the most important texts to critique the ideological nature of the “impression of reality” in the cinema (‘Cinéma/idéologie/critique,’ a manifesto-editorial co-signed with Jean Narboni, and the series of articles ‘Technique et idéologie’) – has gone onto become a prolific, highly regarded documentary filmmaker, with a filmography that stretches from the 1970s to the present day and includes more than fifty titles, made for both cinema and television. Is this transition from film theory to film practice a stunning volte-face, a theoretical apostasy from the revolutionary ethos of the post-1968 era, so common among other soixante-huitards? Nothing of the sort.

article NL FR EN
25.10.2017

I come to perceive the screen as a wall (which it is) in front of which I myself have to assume an attitude and a position. I come to find myself on my own and in my own time. I have to determine my own shot, my way of watching and my use of time. If need be I can exercise patience and wait for the next sequence (as one ‘waits for a bus’). But such an attitude renounces enjoyment. I can spend this time much better by watching instead of seeing – and I can watch in such a way that I forget that I’m waiting for something (e.g. for a bus).

article EN
20.09.2017

“Fiction is everywhere. The question is: where do we situate the starting point of fiction? What kind of arrangement makes something happen? In a way, we can say there is fiction whenever there is some kind of narrative that tells, or shows, us that something is happening. That’s why, in my recent work, I have mostly been interested in exploring the edges of fiction, the edge between nothing happens and something happens.”

article EN
13.09.2017

Still, upon sauntering through the large and wide-ranging selection of pictures large and small, framed and unframed, hung high and low, or spread out on tables, I started to perceive Wolfgang Tillman’s show, 2017, as equally marking this moment in time, when high resolution camera phones have become completely ubiquitous.

article NL EN
26.07.2017

Virtually everyone who has written about Minnelli describes him as a paradoxical phenomenon, partly a servant of the industry and partly an unorthodox stylist. Some writers explain the paradox as a ‘deep-structural’ effect of American ideology, and others as a sign of the director’s own divided attitude toward his material. In either case, Minnelli is usually regarded as both a conformist and an individual, both a company man and an artist.

article EN
14.06.2017

“This was also the case with Killer of Sheep: its objective was to change the perception of coloured people, in spite of what Hollywood had created, this myth, and to give voice to people who didn’t have access to Hollywood to tell their story. The film was made for multiple reasons: to demystify filmmaking in the community and to introduce filmmaking to kids, notably by having children work on the sound and on other technical aspects of the film. We wanted to show people who were interested in making a change in the community, to use film as a means for social change.”

article NL EN
14.06.2017

Any other art form celebrates life, the beautiful, the ideal, and has a progressive effect – except American cinema. The situation is such that one is always asked to compromise one’s integrity, and if the socially oriented film is finally made, its showing will generally be limited and the very ones that it is made for and about will probably never see it. To make filmmaking viable you need the support of the community; you have to become a part of its agenda, an aspect of its survival.

article EN
15.03.2017

The Guardian recently charted Kanye’s packed 12 months of megalomania: it really is a thin line between acting crazy and becoming crazy. You write: “The danger with Famous is that it risks being the very thing it wants to comment on.” I would argue: the force of Famous is that it risks being the very thing it wants to comment on.

article EN
25.01.2017

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.

article NL EN
11.01.2017

Grands travaux might be considered a tentative cartography of the vocational school Anneessens-Funck. We mapped the various spaces of a place where the fragments of a disintegrated city converge. Just like with Because We Are Visual and Rain, constructing Grands travaux was closely related to a tension between inside and outside, between private and public space, between darkness and light... Essentially, Grands travaux is about how we might create new spaces in film. It’s a flowing geography, a movement through the polymorphous spaces inhabited by the boys.”

article NL FR EN
16.11.2016

Marguerite Duras’ Les mains négatives premiered in 1978. Images of a ride through Paris apace with the phrases of Amy Flammers’ violin, entwined with Duras’ own voice. Transcribed, the voice-over reads like a poem.

article NL EN
01.06.2016

“De politieke instabiliteit van de laatste jaren [in Thailand] heeft de manier waarop ik leef en mijn identiteit veranderd. Ik heb ingezien dat politiek geen aparte categorie is. Alles in het leven is politiek. Als je een film maakt, betekent eerlijk zijn ook delen. Maar mensen gaan ervan uit dat politiek niet aan de orde is omdat het gevaarlijk is om erover te praten of omdat ze schrik hebben anderen te beledigen.”

article NL EN
11.05.2016

Film is fundamentally the choice of a viewpoint in space, toward that space. Film is recording and therefore fundamentally contemporary (one cannot record that which is gone, the past). The spectator always watches contemporary images (even when they have aged, they remain contemporary through their model). This disposition sees to it that those who love films become ‘contemporary’ with every film.