Films byTexts by 2016
article EN
9.05.2018

“I only started out in cinema when I was about thirty, and for me, my life or my thoughts have always been lagging behind cinema. Like, if it were a train, cinema would be the locomotive and politics and all that would be the last carriage. It is from For Ever Mozart and mostly Film Socialisme onward that it started to be both at the same time. In my personal life as well, how my personal life has joined my cinematographic life.”

FILM
Maren Ade, 2016, 162’

« Si Toni Erdmann est extraordinaire, c’est qu’il prend tout. C’est un film « qui rend heureux » comme le promet l’affiche française, mais aussi un film triste à mourir, qui traite de tant de désespoir qu’il est difficile de s’en relever.

screening
Wang Bing, 2016
Wed 4 Apr 2018, 19:00
CINEMATEK, Brussels
PART OF
screening
Bitter Money
Wang Bing, 2016
Mon 2 Apr 2018, 19:00
CINEMATEK, Brussels
PART OF
FILM
Bitter Money
Wang Bing, 2016, 152’

Film Comment: What’s your next move?

Wang Bing: Traveling, shooting, editing, more traveling, more shooting, more editing. [...]

FILM
Amérika: Bay of Arrows
Ana Vaz, 2016, 9’

“It is said that in the year of 1492, the first European ship led by Christopher Columbus, disembarked on the coast of Samaná, present-day Dominican Republic, and was received by a rain of arrows carefully plotted by the Caribbean Taíno.

FILM
Laura Henno, 2016, 20’

Clotilde Mydylarama : Les différents bruits m’ont semblé reliés à des instants en particulier, comme un chemin sonore, y a-t-il un déroulé volontaire et comment avez-vous travaillé les effets sonores dans Koropa ?

FILM
John Smith, 2016, 4’

“The most provocative of the bunch is John Smith’s Who Are We?. Leading up to the Brexit vote, BBC’s Question Time became ever more vicious and confrontational.

screening
Brothers of the Night
Patric Chiha, 2016
Sat 25 Nov 2017, 16:45
Cinema Aventure, Brussels
PART OF Filmer à tout prix 2017
FILM
Brothers of the Night
Patric Chiha, 2016, 88’

“But the big surprise [of Film Society of Lincoln Center’s Art of the Real series] is Brothers of the Night, a docudrama about Bulgarian Roma hustlers in Vienna.

screening
Gerard-Jan Claes, Olivia Rochette, 2016
Wed 29 Nov 2017, 20:00
Cinema Aventure, Brussels
PART OF Filmer à tout prix 2017
screening
Nina de Vroome, 2016
Fri 24 Nov 2017, 18:15
Cinema Aventure, Brussels
PART OF Filmer à tout prix 2017
FILM
Boris Lehman, 2016, 97’

« Tu te prends pour Charles Quint ? (Charles Quint avait organisé une répétition générale de son enterrement, commandant spécialement une musique pour la circonstance. Ayant pris froid pendant ces répétitions, il meurt quelques semaines plus tard). Ou pour Molière?

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.

prisma NL
18.10.2017

Net als de Tramp past Wendy niet in de gevestigde orde, maar de anarchie die Chaplins zwerver kon stichten, even rigoureus als zinloos, is tenietgedaan.

FILM
Nina de Vroome, 2016, 61’

In the buildings of the IBIS maritime boarding school in Ostend that look out towards the sea, boys from six to sixteen sleep, eat and play. They learn how to read the sea, sail with a fishing boat and help haul in the catch.

screening
The Woman Who Left
Lav Diaz, 2016
Fri 15 Dec 2017, 18:00
Cinema Zuid, Antwerp
PART OF
FILM
The Woman Who Left
Lav Diaz, 2016, 228’

“Diaz fashions an inexplicably transcendent journey to the end of the world, deeply soaked in melancholy and open to almost all possible interpretations.

screening
Kelly Reichardt, 2016
Wed 29 Nov 2017, 20:00
KASKcinema, Ghent
PART OF
screening
Wang Bing, 2016
Tue 19 Sep 2017, 20:00
BOZAR, Brussels
PART OF
screening
Kelly Reichardt, 2016
Wed 22 Nov 2017, 20:00
STUK, Leuven
PART OF
FILM
Wang Bing, 2016, 148’

“Cinema can’t get more iconic than this, as the Ta’ang, made itinerant by war, create shelter with whatever they can find, which usually means sticks and stones. Wang watches as a group tries to build a frame for a tarpaulin roof with bamboo poles scavenged from what grows along the road.

FILM
Kelly Reichardt, 2016, 107’

“But there is a fourth woman, the Indian rancher who, one day, without knowing why, walks into that classroom. In a way, I would say that she is really the character who stands out, because she is not simply a sociological character. Nor is she here to show loneliness or desperation.

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 EN
11.01.2017

“Je zou Grands travaux kunnen beschouwen als een poging tot cartografie van de beroepsschool Anneessens-Funck. We brengen al de verschillende ruimtes in kaart van een plek waar de Brusselse verbrokkeling convergeert. Net als bij Because We Are Visual en Rain is de opbouw van Grands travaux sterk verbonden aan een spanningsveld tussen binnen en buiten, tussen private en openbare ruimte, tussen donker en licht … In se gaat Grands travaux over hoe we in film nieuwe ruimtes kunnen creëren. De film is een vloeiende geografie, een beweging door de veelvormige leefruimtes van de jongeren.”

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