Films byTexts by 2005
Compilation EN
25.01.2017
On Sleep

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.

FILM
Resonating Surfaces
Manon de Boer, 2005, 39’

Resonating Surfaces is a cinematographic portrait of Brazilian psychoanalyst Suely Rolnik. Guided by Rolnik's own voice, the film weaves together three important parts of her life: the city of São Paulo, psychoanalysis and the intellectual climate in Paris during the 1970s. 

 

Article
6.05.2020
My Key Dates

1987. Back to Chicago. During a seminar at the Art Institute, I see Robert Bresson’s Diary of a Country Priest. A turning point. I give up experimental video-art cinema and move on to storytelling. That is when I understand that classic cinema can bring happiness.

Article NL FR
11.09.2019
Tekstuele genetica

Een tekst voor Valérie Pozner
Boris Lehman 2005
Vertaald door

    “Elk werk is gemaakt uit alle werken die eraan voorafgingen, die het bevat. Ik geloof heel erg in het kannibalisme van de kunst. Geen enkel werk komt uit het niets. Er is iets dat het heeft gevoed, heeft opgewekt. Er zit Bartok in Nino Rota en Tchaikovsky in Chaplin, al dan niet bewust. Dat is waarom ik tegen auteursrechten ben.”

    Article NL FR
    11.09.2019
    Génétique textuelle

    Texte pour Valérie Pozner

    « Toute oeuvre est faite de toutes celles qui l’ont précédée, elle les contient. Je crois beaucoup à l’anthropophagie de l’art. Aucune oeuvre ne vient de nulle part, quelque chose l’a nourrie, l’a suscitée. Dans Nino Rota, il y a du Bartok, et dans Chaplin du Tchaikovsky, que ce soit conscient ou non. »

    FILM
    Les amants réguliers
    Philippe Garrel, 2005, 183’

    Cinema Scope: In Les amants réguliers, a very subjective, very personal take on May 1968, your son Louis plays a 20-year-old guy getting caught up in an unexpected revolution. You were 20 in 1968 as well. How autobiographical is this film?

    Compilation NL FR
    28.02.2018
    1 2
    Au dos de nos images

    Partie 2

    Deux corps séparés par quelque chose qu’on ignore. Des gestes, des mots, des regards qui ne cessent de mesurer la distance qui les sépare en même temps que la puissance du secret qui les rapproche. C’est cela qu’il faudra tenter de mesurer avec notre caméra.

    ARTICLE NL EN
    24.01.2018
    De heilige overwinning van Hong Sang-soo

    Hong Sang-soo zal deze referentie naar Cézanne, die hij vaak aanhaalt, kunnen waarderen, alsook mijn bedachtzaamheid als ik over hem spreek. Hij is als een geschonken boek, waarvan we ontdekken dat bepaalde bladzijdes zorgvuldig zijn uitgescheurd en dat zodoende plotseling alles ontbreekt. Zijn films hebben onze toestemming niet nodig, ze eisen een totale omarming.

    Article NL EN
    24.01.2018
    Hong Sang-soo’s Holy Victory
    Claire Denis 2005
    Translated by

      Hong Sang-soo will appreciate the reference to Cézanne, whom he often quotes, and my caution when talking about him. He is like an offered book, of which we discover that certain pages have been carefully torn out and therefore everything is suddenly missing. His films don’t need our agreement; they require total rallying.

      FILM
      Geuk jang jeon
      Tale of Cinema
      Hong Sang-soo, 2005, 89’

      “I don’t think you really understood the film.”

      Yong-sil in Geuk jang jeon [Tale of Cinema] (2005)

       

      FILM
      The Big Red One: The Reconstruction
      Samuel Fuller, 2005, 162’

      “I was driven to turn my wartime experiences into a movie in order to convey the physical and mental upheaval of men at war. That’s how I ultimately came to grips with my experiences. Tactics, strategy, troop movements on maps were for military historians.

      Compilation EN
      25.01.2017
      On Sleep

      A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.