Films byTexts by 1967
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Shadi Abdel Salam’s entire screenplay for Al-mummia [The Mummy] (1969), also known as The Night of Counting the Years.

“Long pan of the Pennedjem Papyrus showing: the god Anubis; the two goddesses Isis and Nephtys; five wailing women; a mummy inside a shrine over a sledge before whom two priests offer a piece of meat and other offerings; and lastly the mummy, with the Jackal-headed Anubis standing behind it. Interior. Night. Corner, Cairo Museum, Summer 1881 A.D.”

Eric Rohmer, 1967, 89’

A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men.


Frieda Grafe 1967
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Daniel becommentarieert zijn onderwerp: “Met schilderkunst moet je jezelf in de vingers snijden.” Voor hem en Rohmer gaat het erom de kunst tot leven te brengen die niet geschikt is voor musea. Om met een beeld van de film te spreken: vazen zijn er in de eerste plaats om bloemen in te zetten.

Brief Encounters
Kira Muratova, 1967, 96’

Valentina and Nadya love the same man; one is his wife, the other a fleeting encounter; neither knows of each other’s existence until a misunderstanding brings them together.

Edward Owens, 1967, 6’

“The music is by Marilyn Monroe singing Running Wild from Some Like It Hot, because it’s a film portrait of Nettie Thomas. She did floors in white women’s homes, like black women did to support their families in the olden days.

Edward Owens, 1967, 45’

“Edward Owens has achieved in Tomorrow’s Promise a quality so exceedingly high that one is forced to term certain moments of the film bad only because they are surrounded by such rich nuance. Tomorrow’s Promise deals with complex, intellectually exciting subject matter yet remai

Michael Snow, 1967, 45’

In 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft s

Robert Bresson, 1967, 81’

Robert Bresson’s second Georges Bernanos adaptation, beginning a long engagement with the question of suicide, tells the story of a neglected and impoverished girl hemmed in on all sides by her brutal provincial milieu.


Med Hondo, 1967, 98’

A native of Mauritania is delighted when he is chosen to work in Paris. Hoping to parlay the experience into a better life for himself, he eagerly prepares for his departure from his native land. Although an educated man, he has extreme difficulty finding work and an apartment.

Gregory J. Markopoulos, 1967, 6’

“It is each individual New Cinema Film Spectator who breathes life to the images with and without thought; images which must come to life at the touch of each individual spectator’s eyes. The elements are primitive fire, and the measures of holy light which make films possible.”

Frederick Wiseman, 1967, 84’

“My films are about institutions, the place is the star. I have no precise definition of ‘institution’ other than a place that has existed for a while and that has fairly circumscribed geographical boundaries and where the staff is thought to be trying to do a good job.

Shirley Clarke, 1967, 105’

“Miss Shirley Clarke. Portrait of Jason. Roll 1, sound 1.”

“Okay, roll it.”

“Sound rolling.”

“Camera rolling.”

“Okay, Jason, go.”

“My name is Jason Holliday. My name is Jason Holliday. [Laughs] My name is Aaron Payne.”

“What do you mean, Aaron Payne?”

Jacques Tati, 1967, 115’

“It makes me sound old-fashioned, but I think I am an anarchist.”

Jacques Tati


“In a normal world, one would go out and walk into just any theater to see a film by Jacques Tati. Or Chaplin.”

Pedro Costa