Films byTexts by 1998
FILM
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
Peter Tscherkassky, 1998, 3’

L’Arrivée is Tscherkassky's second hommage to the Lumiére-brothers. First you see the arrival of the film itself, which shows the arrival of a train at a station.

Conversation EN
21.07.2021

Atteyat Al-Abnoudy’s definition of documentaries is simple and all-encompassing: “No script, no actors, no direction. The cameraman follows the subject.” (...) “What I want,” says Al-Abnoudy, leaning forward to make the point, “is a Déscription de l’Egypte on film.” Layers and layers of thick description that would make Clifford Geertz happy, testimonies from people rarely heard from, images of daily struggles to survive, dreams deferred but not forgotten.

FILM
The Mutants
Teresa Villaverde, 1998, 113’

Os Mutantes examines the lives of Pedro, Ricardo and Andreia, three kids in their early teens who have rejected life in juvenile homes or with foster families to take their chances on their own.

 

Article EN
28.04.2021
Heiny Srour 1998
Translated by

All this to explain why I have compulsively found myself making films that are so much more difficult to make than those of my male colleagues.

FILM
Cycle of Trifles
Ana Torfs, 1998, 86’

Zyklus von Kleinigkeiten [Cycle of Trifles] is the only feature film by visual artist Ana Torfs. For this radical conceptual movie she drew upon Ludwig Van Beethoven’s so-called ‘conversation books’.

FILM
Gustav Deutsch, 1998, 258’

Film ist. could be seen as a philosophical essay on cinema. Each of the twelve chapter titles completes the phrase “Film is...”, and offers an opening; a concise proposition of what cinema could entail.

Article FR EN
10.10.2018

Le sujet de tous les films du monde, c’est : je t’aime-tu m’aimes, ou alors, je t’aime-tu ne m’aimes pas ; je et tu, répartis entre amants et parents. Ce film a pour sujet le sujet de tous le films : mon « cher » sujet, mon cher « sujet ».

Article FR EN
10.10.2018

The subject of all the films in the world is: I love you-you love me, or rather, I love you-you don’t love me; I and you, distributed among lovers and parents. This film’s subject is the subject of all films: my “dear” subject, my dear “subject.”

Article NL FR EN
3.10.2018

Making a film is like a laboratory for a whole thought process, a place where one can take stock, not only of one’s own personal development, but also other people’s. It is a very privileged creative space where something can be grasped that might otherwise drift off like smoke and disappear. However, at times, I have dreamed of doing something completely different because filmmaking is the work of sublimation, as they say, and therefore restrictive. Afterwards, there is not necessarily an exchange or a return that could keep things alive. You have to start over and begin creating again immediately. If you stop, things get very quiet.

Article NL FR EN
3.10.2018
Anne-Marie Miéville 1998
Propos recueillis par

Faire un film est un lieu d’expérimentation de tout un travail de réflexion, un lieu où l’on peut rendre compte de son cheminement personnel mais aussi de celui des autres, c’est un espace de création très privilégié où l’on arrive à rendre compte de quelque chose qui aurait pu partir en fumée. Mais j’ai quelquefois rêvé de faire tout autre chose parce que c’est un travail de sublimation comme on dit, donc forcément restrictif. Après, il n’y a pas forcément d’échange, de retour, pour que ça reste vivant, il faut tout de suite recommencer à créer, refaire immédiatement quelque chose ; si on arrête, c’est très silencieux.

Article NL FR EN
3.10.2018

Een film maken is een plek van experiment voor een heel reflectiewerk, een plek waar je verslag kan uitbrengen over je eigen ontwikkeling maar ook over die van anderen, het is een ruimte van erg bevoorrechte creatie waar men zich rekenschap kan geven van iets dat in rook zou kunnen zijn opgegaan. Maar ik heb soms gedroomd om heel andere dingen te doen omdat het een werk van sublimatie is, zoals men zegt, en dus erg beperkend. Achteraf is er niet noodzakelijkerwijs uitwisseling, terugkoppeling, opdat het levend blijft, moet je meteen opnieuw beginnen creëren, onmiddellijk opnieuw iets maken; als je stopt, wordt het erg stil.

FILM
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
The Power of Kangwon Province
Hong Sang-soo, 1998, 110’

The Power of Kangwon Province (1998): leaving with a friend to tour this tourist-province par excellence, the hero puts a secretary at his university in charge of taking care of two goldfish.