Films byTexts by 1975
Article NL EN
6.09.2023

There is a rightness, an inner consistency, and an absence of moral hesitation that make Visconti’s films breathtakingly modern. It is our sense of physicality that we see at work on the screen: a theatrical nudity, an artificial naturalness, a perverse spontaneity. It is important to think both contradictory terms together, because modern physicality resides in this very tension, their unresolvedness, our continuous journey between both poles.

Article NL EN
6.09.2023

Er is een juistheid, een innerlijke consequentie, een afwezigheid van morele verpinkingen die Visconti’s films adembenemend modern maken. Het is ons gevoel van lichamelijkheid dat we op dat scherm werkzaam zien: een theatrale naaktheid, een artificiële natuurlijkheid, een perverse spontaniteit. Het is belangrijk beide contradictorische termen samen te denken, want het is in hun spanning, in hun nimmer besliste keuze, in onze voortdurende reis tussen beide polen, dat de moderne lichamelijkheid zich situeert.

FILM
Two Solutions for One Problem
Abbas Kiarostami, 1975, 5’

This simple moral tale seems to prefigure Where Is the Friend’s House? Two young schoolboys, Dara and Nader, are friends until Dara returns Nader’s notebook torn and Nader retaliates in kind, setting off an escalating battle that leads to destruction of property and physical injury.

FILM
So Can I
Abbas Kiarostami, 1975, 4’

The first of Kiarostami’s films made for, rather than about, children was an experiment in combining live action and animation, done in collaboration with animator Nafiseh Riahi.

FILM
Kurt Kren, 1975, 8’

The camera with a sun shade is mounted on a heavy tripod in front of a window. Over 21 consecutive days the view outside is filmed from this perspective.

FILM
Dario Argento, 1975, 127’

Jazz pianist Marcus Daly (Blow Up's David Hemmings) and a wisecracking journalist are pulled into a complex web of mystery after the former witnesses the brutal murder of a psychic.

 

You have been watching DEEP RED, directed by Dario Argento

Article NL
16.03.2022
Fernand Deligny 1975
Vertaald door
Introductie door

Sabzian publiceert de komende maanden de eerste Nederlandstalige vertalingen van enkele teksten van Fernand Deligny over de notie van het camereren. Deligny’s filmproducties en audiovisuele experimenten gingen samen met geschreven reflecties over de camera. Zijn schriftuur wordt gekenmerkt door vormelijke wildheid en raadselachtigheid, vol woordspelingen, provocaties en boutades. Hij schreef verschillende teksten over camereren, een werkwoord dat zich onderscheidt van wat we doorgaans filmen noemen. Via dit neologisme opende hij een uniek perspectief op de camera. Deligny: “‘Filmen’ lijkt me een merkwaardig werkwoord. Als het op het schrijven van een boek aankomt, zeg je niet ‘boeken’. En peindre heet niet tableauter. Hieruit blijkt dat, wat film betreft, het eindproduct de overhand neemt en een werkwoord wordt.”

FILM
Marguerite Duras, 1975, 120’

Anne-Marie Stretter, wife of a French diplomat, lives in 1930s India. She takes many lovers as systems of oppression decay around her.

 

FILM
Adoption
Márta Mészáros, 1975, 89’

Kata, a 43-year-old factory worker, longs to have a child of her own. Following her instinct to cultivate a maternal bond, she befriends Anna, a teenager in the care of the state, and slowly builds a meaningful relationship, which subtly challenges traditional familial structures.

FILM
Steven Spielberg, 1975, 124’

A hot summer in a small island town called Amity gets upset by the arrival of an oversized killer shark. The local police chief, a marine biologist and a wayward fisherman join forces to bring it down.

 

“The great fish moved silently through the night water...”

FILM
The Seasons
Artavazd Peleshian, 1975, 29’

A film about Armenia’s shepherds. A measured glance at the contradictory yet also harmonious relation between man and nature, scored to Vivaldi’s Four Seasons.

 

FILM
The Mirror
Andrei Tarkovsky, 1975, 107’

Zerkalo is an elusive autobiographical film poem in which Tarkovsky implicitly mixes his own childhood memories of the Russian countryside with a collective (Russian) history.

FILM
Armand Gatti, 1975, 1976, 369’

Commissioned by the Centre d’animation culturelle of Montbéliard, Armand Gatti observed the town of the Peugeot factories where France’s second largest workforce was concentrated and almost 10,000 immigrants of different origins.

FILM
Rainer Werner Fassbinder, 1975, 120’

Factory worker Küsters, faced with the threat of redundancy, kills his boss and commits suicide. His widow finds herself deserted by her family and friends, until a wealthy communist couple decide to make political capital from her plight.

 

FILM
John Douglas, Robert Kramer, 1975, 195’

Milestones maps the different paths taken by the New Left in the early 1970s. This lilting, free-associative masterpiece follows over fifty characters as they try to reconcile their ideals with the reality of American life.

FILM
Dokkoi! Songs from the Bottom
Shinsuke Ogawa, 1975, 121’

“In the production diary from the editing, there were many discussions about life and the ethics of filming people who are facing death. For example, on January 2, 1975, there was such a conversation between Tamura and Ogawa.

Article NL EN
13.02.2019
Dirk Lauwaert 1975
Introduction by
Translated by

It is not a complicated or difficult film, rather a very simple and clean one. But it is not a natural, spontaneous film. The clarity and legibility of Jeanne Dielman is the result of self-discipline. In our culture clarity needs to be pragmatic-efficient, an argument needs to have the form of a road, including road signs. Force and energy need to be channelled into activist trajectories time and again, need to be labelled with a name and an address. Akerman slipped by and through all of that.

FILM
Rainer Werner Fassbinder, 1975, 123’

“Upon its release in Europe and the United States in 1975–76, Rainer Werner Fassbinder’s Fox and His Friends (Faustrecht der Freiheit, 1975) disappointed many European and American gay critics. In their reviews, these critics criticized the film from two dominant perspectives.

FILM
Akira Kurosawa, 1975, 144’

“When I begin to consider a film project, I always have in mind a number of ideas that feel as if they would be the sort of thing I’d like to film. From among these one will suddenly germinate and begin to sprout; this will be the one I grasp and develop.

FILM
The Travelling Players
Theodoros Angelopoulos, 1975, 230’

Greece, 1939-1952: Fascist, Nazi, and Communist conflict, as seen through the eyes of a family of travelling provincial players.

 

FILM
Chantal Akerman, 1975, 201’

Jeanne Dielman, a lonely young widow, lives with her son Sylvain following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon. However, something happens that changes her safe routine.

 

Article NL EN
23.12.2015

Film heeft altijd problemen met de tijd gehad. De carrière van Griffith wordt geritmeerd door zijn steeds maar uitdijende projecten. Is het toevallig dat zijn langste films ook zijn meest didactisch-moraliserende films waren, films waarin hij een boodschap wilde brengen, waarin hij zijn publiek iets wilde leren, waarin hij een thesis verdedigde? Het lang duren van een film is niet alleen een materiële eigenschap (een chronometrage), niet alleen een element van de ervaring als toeschouwer, maar ook een teken van iets, een signaal.

FILM
Armand Gatti, 1975, 1976, 369’

Commissioned by the Centre d’animation culturelle of Montbéliard, Armand Gatti observed the town of the Peugeot factories where France’s second largest workforce was concentrated and almost 10,000 immigrants of different origins.