Films byTexts by 1985
Article EN
22.06.2022
Linda Polan 1985
Introduction by

Naughty Boys was the second film De Kuyper made with friends and students, but here for the first time they were joined by a “professional” actress, Linda Polan. The text below is a testimony of her experience of working with De Kuyper, preceded by an introduction by the Belgian filmmaker. Polan: “Looking back as I write this, a year later, I wonder what it was I was so frightened of. I must admit to a terrible fear of being found unsatisfactory – sent back; returned to the manufacturer, like something on approval from Peter Jones. I suppose it was that.”

Conversation NL
25.05.2022

A Strange Love Affair (1985), de meest narratieve film van Eric de Kuyper, is een liefdesverhaal tussen een student en zijn veertigjarige professor in filmstudies (zoals De Kuyper destijds zelf was), gespecialiseerd in Hollywooddrama’s. Eric de Kuyper: “We willen dat de toeschouwer zich beelden, of een sfeer herinnert uit de film. Ik ben ook criticus geweest, en je ziet zoveel films waar je je achteraf geen beeld meer van herinnert. Ik dacht dan, als ik films maak, dan moeten de mensen zich er toch nog enkele beelden van herinneren. Zodat er toch nog iets overblijft. Dàt moet cinema zijn: je moet beelden overhouden. En dat is de kracht van grote cineasten: dat ze je beelden inprenten zodat je twintig jaar later nog altijd kunt zeggen: ‘lk heb die film gezien.’”

Article EN
28.04.2021

“At the age of 18 in 1963, two films that were turning points for me were Fellini’s 81⁄2 and Cléo de 5 à 7 by a French woman, Agnès Varda. I told myself then that painting is not a big loss, dancing is not a loss, writing is not a loss: it is filmmaking that I must do. I felt cinema was the language that I wanted to express myself with. I could understand that the cinema was the most powerful means, the most complete and the most total to express what you want. When I saw the Fellini film, I thought, “I am a woman, I can never be a filmmaker”. But when I saw the film by Agnès, first I thought, “I can make it”. Then I saw that Agnès was a European woman, I was an Arab woman, and there was no chance in hell that I could make it. Lack of models made me feel depressed too. Now I have two films behind me...”

FILM
Ross McElwee, 1985, 157’

Documentary filmmaker Ross McElwee sets out to make a movie about Union General Sherman's March to the Sea towards the end of the American Civil War, but keeps getting sidetracked by his own love life.

 

Conversation NL EN
4.09.2019

Dit interview van dichter Charles Bernstein met filmmaakster en dichteres Abigail Child uit 1986 werd recent vertaald voor het tijdschrift voor literatuur, kritiek en amusement nY #39 (met een over dossier materialiteit, fragment, montage). Het gesprek tussen Bernstein en Child toont de verwevenheid, de parallellen tussen en suggereert de wederzijdse beïnvloeding van de manieren van werken en denken van Language Poetry en de New Yorkse experimentele filmscène van de jaren 1980. Specifieke manieren van monteren worden vanuit een bespreking van het werken expliciet en concreet gemaakt. 'Experimentele’ literatuur en films vragen wellicht een ‘actief lezen’  in tegenstelling tot een ‘passief kijken’. 

Conversation NL EN
4.09.2019

This interview from 1986 by poet Charles Bernstein with poet and filmmaker Abigail Child was recently translated to Dutch for tijdschrift voor literatuur, kritiek en amusement nY #39 (an issue about materiality, fragment, montage). The conversation between Bernstein and Child shows and suggests the parallels between and the interconnectedness and mutual influence of the practices of Language Poetry and the New York experimental film scene of the 1980s. Specific ways of editing are made explicit and concrete through a discussion of these practices. “Experimental” literature and films might require “active reading” as opposed to “passive viewing”.

FILM
Come and See
Elem Klimov, 1985, 142’

“And I saw when the Lamb opened one of the seals, and I heard, as it were the noise of thunder, one of the four beasts saying, Come and see.”

Revelation 6:1

 

FILM
Jean-Luc Godard, Anne-Marie Miéville, 1985, 52’

Jean-Luc Godard : C'est peut-être la différence entre l'un et l'autre par rapport à l'image. Moi, ce qui me plaît en elle est inaccessible et toi ce serait ce qui te gênerait… Faut-il montrer les choses?

FILM
Jean-Luc Godard, 1985, 72’

« Comme le pain quotidien s’approche chaque jour de la bouche, il faudrait que le film rapproche le spectateur de son quotidien profond: aimer, donner la vie, la vivre, faire un enfant. C'est cela que représente Marie : elle est une image… Elle est une image vierge. Pas de traces.

FILM
Anne-Marie Miéville, 1985, 28’

“In Anne-Marie Miéville’s film, little Marie locks herself in her little girl’s mystery – in her books, music, dance – and so refuses to be scarred by what she is going through.

FILM
Agnès Varda, 1985, 105’

A young woman's body is found frozen in a ditch. Through flashbacks and interviews, we see the events that led to her inevitable death.

 

FILM
Edward Yang, 1985, 110’

You’ve dedicated a movie to Taiwan’s largest city – what were your intentions in making Taipei Story?

FILM
Ma’loul Celebrates Its Destruction
Michel Khleifi, 1985, 30’

Ma’aloul is a Palestinian village in Galilee. In 1948, it was destroyed by the Isreali armed forces and its inhabitants expelled either to Lebanon or to the neighboring town of Nazareth.