Films byTexts by 1989
Compilation NL EN
11.05.2016
Fragments of Dirk Lauwaert

Film is fundamentally the choice of a viewpoint in space, toward that space. Film is recording and therefore fundamentally contemporary (one cannot record that which is gone, the past). The spectator always watches contemporary images (even when they have aged, they remain contemporary through their model). This disposition sees to it that those who love films become ‘contemporary’ with every film.

Compilation NL EN
30.03.2015
Fragmenten van Dirk Lauwaert

De bioscoop was zijn Amerika, de beelden volgden elkaar op als plechtige zevenmijlsstappen, of als het rennen van de honderd meter. Hij schoof van plek naar plek, van de ene naar de andere figuur. En steeds gebeurde dat in die ene juiste afstand. [...] Later begreep hij dat alles draaide rond een oxymoron: onbeweeglijk bewogen te worden.

Compilation NL EN
11.05.2016
Fragments of Dirk Lauwaert

Film is fundamentally the choice of a viewpoint in space, toward that space. Film is recording and therefore fundamentally contemporary (one cannot record that which is gone, the past). The spectator always watches contemporary images (even when they have aged, they remain contemporary through their model). This disposition sees to it that those who love films become ‘contemporary’ with every film.

Compilation NL EN
30.03.2015
Fragmenten van Dirk Lauwaert

De bioscoop was zijn Amerika, de beelden volgden elkaar op als plechtige zevenmijlsstappen, of als het rennen van de honderd meter. Hij schoof van plek naar plek, van de ene naar de andere figuur. En steeds gebeurde dat in die ene juiste afstand. [...] Later begreep hij dat alles draaide rond een oxymoron: onbeweeglijk bewogen te worden.

FILM
Book of Days
Meredith Monk, 1989, 65’

Around 1350, a young Jewish girl in a French village begins to have premonitions of the future. She draws rockets in the sand, explains these marvels to her grandfather, and visits a silent madwoman.

FILM
Bilder der Welt und Inschrift des Krieges
Harun Farocki, 1989, 75’

This essay film revolves around various forms of representation, ranging from 19th-century perspective to computer simulations of landscapes and the film’s actual heart: a misleadingly simple archival image that later reveals a staggering blind spot.

Article EN
31.03.2021
A Woman’s Gaze
Assia Djebar 1989
Translated by

    Can it be simply by chance that most films created by women give as much importance to sound, to music, to the timbre of voices recorded or captured unawares, as they do to the image itself? It is as though the screen had to be approached cautiously and be peopled, if need be, with images seen through a look, even a short-sighted, hazy look, but borne on a full, commanding voice, hard as stone but fragile and rich as the human heart.

    FILM
    Route One USA
    Robert Kramer, 1989, 255’

    From more than 65 hours of film footage, Robert Kramer crafted this epic portrait of the famous highway that runs from Maine to Key West, Florida.

    FILM
    Sidewalk Stories
    Charles Lane, 1989, 97’

    “Charles Lane is a man with a vision. What has to be developed in filmmakers is a sense of who you are, what you want to say, and how you want to say it-a world view or a perspective that you can express in your own terms.”

    FILM
    Der siebente Kontinent
    Michael Haneke, 1989, 104’

    “The film is about the life of Georg, his wife Anna and their daughter Eva over a period of three years: it is the story of a successful career, it is the story of the price of conformity, it is the story of mental short-sightedness, it is a family story and it is the story of a lived consequence

    FILM
    Le rapport Darty
    Jean-Luc Godard, Anne-Marie Miéville, 1989, 50’

    « On a fait un film avec Anne-Marie Mieville sur les établissements Darty, qui s’appelle Le rapport Darty. Il nous avait été commande par Darty. ils nous avaient dit : « On gagne trop d'argent, tout va trop bien, on perd la tête, on ne sait pas ce qui se passe..

    FILM
    Dekalog
    Krzysztof Kieślowski, 1989, 572’

    “One day I happened to bump into my co-scriptwriter in the street. It was cold. It was raining. I’d lost one of my gloves. ‘Someone should make a film about the Ten Commandments,’ Krzysztof Piesiewicz said to me. ‘You should do it.’ A terrible idea, of course.”

    Article NL EN
    14.06.2017
    Binnenstadsblues

    Elke andere kunstvorm viert het leven, het schone, het ideaal, en heeft een progressief effect – behalve de Amerikaanse cinema. De situatie is van die aard dat je steeds gevraagd wordt om je integriteit aan te tasten, en als de sociaal georiënteerde film eindelijk gemaakt wordt, zullen de vertoningen doorgaans beperkt zijn en zullen zij voor wie de film gemaakt is en over wie hij gaat, hem waarschijnlijk nooit zien. Om filmmaken levensvatbaar te maken, heb je de steun van de gemeenschap nodig; je moet deel worden van haar agenda, een aspect van haar voortbestaan.

    Article NL EN
    14.06.2017
    Inner City Blues

    Any other art form celebrates life, the beautiful, the ideal, and has a progressive effect – except American cinema. The situation is such that one is always asked to compromise one’s integrity, and if the socially oriented film is finally made, its showing will generally be limited and the very ones that it is made for and about will probably never see it. To make filmmaking viable you need the support of the community; you have to become a part of its agenda, an aspect of its survival.

    Compilation NL EN
    11.05.2016
    Fragments of Dirk Lauwaert

    Film is fundamentally the choice of a viewpoint in space, toward that space. Film is recording and therefore fundamentally contemporary (one cannot record that which is gone, the past). The spectator always watches contemporary images (even when they have aged, they remain contemporary through their model). This disposition sees to it that those who love films become ‘contemporary’ with every film.

    Compilation NL EN
    30.03.2015
    Fragmenten van Dirk Lauwaert

    De bioscoop was zijn Amerika, de beelden volgden elkaar op als plechtige zevenmijlsstappen, of als het rennen van de honderd meter. Hij schoof van plek naar plek, van de ene naar de andere figuur. En steeds gebeurde dat in die ene juiste afstand. [...] Later begreep hij dat alles draaide rond een oxymoron: onbeweeglijk bewogen te worden.