Films byTexts by 1968
Philippe Garrel, 1968, 67’

A 4-year-old child is the element from and around which the action develops, and brings sentiments and emotions to light. The French word “révélateur” describes the procedure to develop or “reveal” film negatives.


Stanley Kubrick, 1968, 142’

After uncovering a mysterious artifact buried beneath the Lunar surface, a spacecraft is sent to Jupiter to find its origins - a spacecraft manned by two men and the supercomputer H.A.L. 9000.


“After 2001, science fiction is dead.”

Ridley Scott

Jackie Raynal, 1968, 75’

A playfully obtuse, plotless procession of obscure cinematic rhymes and games of repetition that tease the viewer and invite one to construct his or her own system of meaning, much like one might draw association between fragments of dreams.


Robert Beavers, 1968, 18’

Robert Beavers in a hotel room, at his work desk or stretched out on the bed, while fragments of Duvelor by Michel de Ghelderode play on the soundtrack.

Jean-Luc Godard, 1968, 110’

While The Rolling Stones rehearse ‘Sympathy for the Devil’ in the studio, Godard reflects on 1968 society, politics and culture through five different vignettes.


Frieda Grafe 1968
Vertaald door

Men zou mij ervan kunnen beschuldigen dat wat volgt slechts van heel ver iets te maken heeft met de individuele films die in Knokke zijn vertoond en dat het meer een postulaat is dan een beschrijving van een werkelijkheid. Zo is het ook bedoeld, niet als een vergezochte verdediging van alles wat er in Knokke te zien was. Ik zou helemaal niet in staat zijn deze films op een zinvolle manier te beoordelen: als normale bioscoopbezoeker krijg je dit genre zo zelden onder ogen dat aanvankelijk alleen al de vreemdheid ervan je verwart.

Jean-Daniel Pollet, 1968, 88’

A cinematographic poem in the form of variations around the theme of Robinson, a utopian fable freely inspired by Daniel Defoe’s novel, which speaks above all of solitude: the immense weakness of today’s man in the face of loneliness is no longer that of the hero of the eighteenth century.

Conversation NL
Trépied 1968
Ingeleid door
Vertaald door

Voordat ik op uw vraag antwoord, wil ik graag even zeggen dat ik geen cineast ben. Voor mij is film een verlengstuk van de taal. Mijn keuze viel eerst op poëzie, daarna op beeldende kunst en ten slotte op film, waarin verschillende kunstelementen zijn verenigd: het schrijven – poëzie –, het object – beeldende kunst – en het beeld – film. De grote moeilijkheid zit hem natuurlijk in het harmonisch samenbrengen van die elementen.

Emile de Antonio, 1968, 103’

“The strength of montage resides in this, that it includes in the creative process the emotions and mind of the spectator. The spectator is compelled to proceed along that selfsame path that the author traveled in creating the image.

David Larcher, 1968, 143’

“From one flick of the mare’s tail came an unending stream of images out of which was crystallised the milky way.”

David Larcher


Death by Hanging
Nagisa Ôshima, 1968, 117’

“Rather than being our own, the labors of our days are merely a series of things we are made to do by those outside ourselves. We live lives that are even more evanescent than the bubbles floating along the stream – and even more meaningless.

John Cassavetes, 1968, 130’

“Watching [his films] brings to mind a comment made by John Ford to a collaborator who was complaining about the miserable weather conditions somewhere in the desert when they were trying to shoot a picture. The guy said, ‘Look, Mr.

André Delvaux, 1968, 86’

Mathias (Yves Montand) is a selfish professional who lives in Leuven with his wife Anne, who is more sensitive by nature. He rarely questions their relationship, which is clearly cracked. One evening, during a train journey, Anne mysteriously disappears.

Chantal Akerman, 1968, 13’

…a young lady in her apartment’s kitchen mops the floors, polishes her shoes, dances, cooks, drinks wine, then she duct-tapes the door, opens the gas and blows everything up – humming all along.


Pier Paolo Pasolini, 1968, 98’

“My hatred for the bourgeoisie is not documentable or arguable. It’s just there and that’s it. But it’s not a moralistic condemnation; it is total and unmitigated, but it is based on passion, not on moralism.