Films byTexts by 1988
Article NL EN
21.04.2021
Reality Would Have to Begin

A year later, when the Germans had lost the war and the concentration camps were liberated, the Allies photographed and filmed the camps, the survivors, and the traces that pointed to the millions murdered. It was above all the images of piles of shoes, glasses, false teeth, the mountains of shorn hair that have made such a profound impression. Perhaps we need images, so that something that is hardly imaginable can register: photographic images as the impressions of the actual at a distance.

Article NL EN
21.04.2021
De werkelijkheid zou moeten beginnen

Een jaar later, toen de Duitsers de oorlog hadden verloren en de concentratiekampen waren bevrijd, fotografeerden en filmden de geallieerden de complexen, de overlevenden en de sporen die wezen op miljoenen vermoorde mensen. Vooral de beelden van stapels schoenen, brillen en kunstgebitten en de bergen afgeschoren haar maakten een diepe indruk. Misschien moeten er eerst beelden zijn vooraleer iets wat nauwelijks voorstelbaar is indruk maakt, fotografische beelden, afdrukken van de werkelijkheid op afstand.

FILM
Talk Radio
Oliver Stone, 1988, 110’

A rude, contemptuous talk show host becomes overwhelmed by the hatred that surrounds his program just before it goes national.

 

FILM
Oggi è Primavera
Claudio Pazienza, 1988, 4’

A street with passers-by. Music. A voice reads the credits and clarifies: “This is a very violent film.” The action begins: A man crosses the street and enters his apartment. He opens the door, puts out the fire under the kettle in the kitchen and enters the living room ...

FILM
L’oeuvre au noir
De terugkeer naar Brugge
André Delvaux, 1988, 110’

André Delvaux's final feature film, based on the novel L'oeuvre au noir (Het hermetisch zwart/The Abyss) by Belgian-born novelist Marguerite Yourcenar, tells the story of Zeno, a doctor and alchemist whose quest for knowledge takes him around 16th-century Europe.

FILM
Dreaming Rivers
Martina Attille, 1988, 30’

“In Martina Attille’s own words Dreaming Rivers ‘illustrates the spirit of modern families touched by the experience of migration.’ A Sankofa film production, the film evocatively weaves together the ambition-fuelled dreams and memories of Caribbean-born Miss T. and her family.

Conversation NL EN
20.02.2019
“I embrace every coincidence”

Conversation with Kira Muratova

“I’m fascinated by editing. It’s the part of filmmaking I love most. I could spend my whole life editing. I wouldn’t go out anymore. I would stop noticing the difference between day and night.” In 1988, Mart Dominicus and Mark-Paul Meyer conducted a conversation for Skrien with filmmaker Kira Muratova about her The Long Farewell (1971) and Brief Encounters (1968).

Conversation NL EN
6.02.2019
“Ik omarm alle toevalligheden”

Gesprek met Kira Muratova

“Ja, Ik ben gefascineerd door montage. Dat is het onderdeel van het filmmaken waar ik het meest van hou. Ik zou mijn hele leven wel aan monteren kunnen besteden. Ik zou niet meer op straat komen, het verschil tussen dag en nacht zou me niet meer opvallen.” Mart Dominicus en Mark-Paul Meyer spraken in 1988 voor Skrien met cineaste Kira Muratova over The Long Farewell (1971) en Brief Encounters (1968).

FILM
Histoire(s) du cinéma
Jean-Luc Godard, 1988, 1998, 267’

“I think the best way to look at these programs is to enter into the image without a single name or reference in your head. The less you know, the better.”

FILM
Os canibais
The Cannibals
Manoel de Oliveira, 1988, 90’

“De tijd bekommert me erg ... De tijd heeft een intieme relatie met de cinema. Films worden in blikken dozen gestoken en worden objecten die we kunnen bekijken onafhankelijk van elk idee van tijd, onafhankelijk van de tijd zelf waarin ze werden gemaakt.

FILM
Topio stin omichli
Landscape in the Mist
Theodoros Angelopoulos, 1988, 127’

“Before I saw Angelopoulos’s film, I, who had been brought up without a father, would never have thought that I would discover him in the image of a tree. This last scene of Landscape in the Mist was a revelation for me.

FILM
Histoire(s) du cinéma
Jean-Luc Godard, 1988, 1998, 267’

“I think the best way to look at these programs is to enter into the image without a single name or reference in your head. The less you know, the better.”