Films byTexts by 1969
FILM
William Klein, 1969, 110’

Algeria was in the late 60s the rallying point for all the world’s revolutionaries. At that time, several colonies were still fighting for their independence, and the South African apartheid regime continued to dominate the region.

Article NL EN
13.07.2022

Trouble in Paradise is a crook film – and not only because it’s about crooks. It reveals imposture to be the essence of cinema. Film, says Leenhardt, is the art of ellipsis – what else are theft, fraud and imposture? Skipping links, creating seemingly or only outwardly conclusive connections between originally unrelated elements: that is the art of filmmakers and con artists, the essence of their respective means of expression. 

FILM
Marguerite Duras, 1969, 94’

Elizabeth Alione is sinking into a deep melancholy when she drags down the corridors, the park and the dining room of a hotel. Originally intended as an English-language film under the title The Chaise-Longue, to be directed by Joseph Losey.

FILM
Jacques Rivette, 1969, 252’

A stage work forms while a marriage collapses in perhaps the most remarkable of director Jacques Rivette’s many explorations of the intersection of life and art. During the rehearsals for the production of the tragedy Andromaque, the leading actress and her director, a couple behind

FILM
The Cow
Dariush Mehrjui, 1969, 104’

An old villager deeply in love with his cow goes to the capital for a while. While he’s there, the cow dies and now the villagers are afraid of his possible reaction to it when he returns.

 

FILM
The Mummy
Shadi Abdel Salam, 1969, 102’

Set in 1881, on the eve of British colonial rule, The Mummy tells the true story of an Egyptian clan that has been robbing tombs for three thousand years. When Antiquities Service officials find mummies on sale in Cairo’s open market, mayhem ensues.

 

Article NL
9.09.2020

Méditerranée slaagt in een radicale benadering van de mythische functie die door het Griekse werkwoord mueîn, “de ogen en de mond sluiten”, wordt aangeduid en die uitzicht geeft op drie simultane vlakken: dromena: de dingen van handeling – legomena: de gezegde dingen – deiknumena: de getoonde dingen.

Article NL EN
8.04.2020

For twenty-five years, there was fascist ossification and inbreeding, the heyday of a couple of genres that provided an utterly distorted picture of reality, or rather, that regarded the very dialogue with reality as superfluous. In a grandiose gesture of liberation, these self-sufficient diagrams of comedies and dramas are dismissed. Suddenly, reality itself becomes visible.

Article NL EN
29.01.2020

Trouble in Paradise is een schurkenfilm – en niet enkel omdat hij over schurken gaat. Hij ontmaskert oplichterij als de essentie van cinema. Film, zegt Leenhardt, is de kunst van de ellips – wat zijn diefstal, bedrog en oplichterij anders? Tussenschakels overslaan, schijnbaar of alleen uiterlijk sluitende verbanden tot stand brengen tussen oorspronkelijk onsamenhangende elementen: dat is de kunst van de cineast en de bedrieger, de essentie van hun respectievelijke expressiemiddelen.

FILM
Robert Bresson, 1969, 88’

« Il y a ici un autre principe de base, principe que très peu, sauf les grands comme Chaplin, connaissent : c’est l'économie. Faire une grande chose avec rien, c’est ça le truc. Alors qu’il est de coutume de faire tout le contraire : on montre absolument tout, quoi que ce soit, tout est bon.

FILM
Prehistory of the Partisans
Noriaki Tsuchimoto, 1969, 120’

Aaron Gerow: This is a question relating to style. The dual quality, as you said, both keeping a distance and having a great interest in the main subject – someone like Takita Osamu in Pre-Partisans – is a part of your film style.

FILM
Rainer Werner Fassbinder, 1969, 88’

“Fassbinder’s second film, which became not only his first claim to fame and author status, but also gave him [...] valuable operating capital for years to come.

Manifesto NL FR
21.11.2018
Marcel Broodthaers 1969
Ingeleid en vertaald door

Maar je moet al in een technologische wereld geboren zijn om dat soort van medium succesvol te gebruiken. En zie mij hier, gruwelijk verscheurd tussen iets onbeweeglijks dat al geschreven is en de komische beweging die 24 beelden per seconde tot leven wekt.

Manifesto NL FR
21.11.2018

Encore faut-il être bien né dans un monde technologique pour utiliser ce genre de moyen avec succès. Et me voici cruellement partagé entre quelque chose d’immobile qui a déjà été écrit et le mouvement comique qui anime 24 images par seconde.

FILM
Antonio das Mortes
Glauber Rocha, 1969, 100’

“Be aware: for him there are no true or false gods, there are (as Deleuze and Guattari would say) ‘rhizome’ gods, there are images sliding ones beneath the others, all of them true or all of them false. What matters is not the Earth but the Age.

FILM
Haskell Wexler, 1969, 111’

“‘When I was in Vietnam with Jane Fonda,’ Wexler has recalled, ‘I was filming a farmer walking through a field when, all of a sudden, he stepped on a land mine.

FILM
Charles Burnett, 1969, 21’

“Charles Burnett’s first 16mm student film, Several Friends, showcases his early facility with a documentary approach to fiction, his ability to draw out eccentric and endearing characterizations from an ensemble of nonprofessional actors, and his sensitivity to the expressive possibilit

FILM
The Color of Pomegranates
Sergei Parajanov, 1969, 79’

Sergei Parajanov’s masterpiece paints an astonishing portrait of the 18th century Armenian poet Sayat Nova, the ‘King of Song’. Parajanov’s aim was not a conventional biography but a cinematic expression of his work, resulting in an extraordinary visual poem.

FILM
Agnès Varda, 1969, 31’

“The Black Panther Party (BPP) embodied this new mixture of cultural and political rebellion. Varda would often travel from Los Angeles to Oakland, filming Black Panther meetings and demonstrations with a 16mm camera borrowed from student activists at the University of California, Berkeley.

Article NL EN
2.01.2015

Vijfentwintig jaar lang was er fascistische verstarring en inteelt, hoogtij van enkele genres die een volledig vertekend beeld gaven van de werkelijkheid, of beter nog, die juist elke dialoog met de werkelijkheid overbodig achtten. Deze volledig zelfstandig geworden schema’s van komedies en drama’s worden in een grandioos gebaar van bevrijding weggeschoven. Plots is het de werkelijkheid zelf die zichtbaar wordt.