Films byTexts by 1975
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’

“History is the first aporia of his work. One could easily refer to the famous letter by Friedrich Engels, that history as it happened is something that no one ever wanted.

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.