Sabzian is a free online magazine that relies on the work of a group of dedicated volunteers. We could use your support. Please consider a donation! Sabzian est un magazine en ligne gratuit qui dépend du travail d’un groupe de bénévoles dévoués.  Votre soutien nous aide beaucoup. Pensez à faire un don ! Sabzian is een gratis online magazine dat afhankelijk is van het werk van een groep toegewijde vrijwilligers. We kunnen uw steun goed gebruiken. Overweeg een donatie!

SUPPORT SUPPORT SUPPORT

A Small Miracle

Faraz Fesharaki on Was hast du gestern geträumt, Parajanov? (2024)

Conversation
09.10.2024
EN

I manipulated the footage so much during editing that the boundaries between reality and fiction blurred. But even then, I don’t think it’s unreal, because what is real anyway? Even when you observe reality, you’re seeing it from a specific angle, editing it in your mind. That’s what I learned in the editing room – how different angles and edits can create entirely different versions of the same family.

Sabzian Celebrates Tenth Anniversary!
NEWS
02.10.2024
NL FR EN

On October 9, Sabzian celebrates its tenth anniversary. To mark our anniversary, Un chant d’amour (1950) by Jean Genet will be available for 24 hours in our Screening Room on Wednesday, October 9 from 12h00 (CET).

Ghosts in the Darkness

Article
04.09.2024
EN

If you notice the people around you while watching a film, you will see that their behaviour is like that of ghosts, lifting up their heads to look at the moving images in front. The cinema itself is like a coffin with bodies, sitting still, as if under a spell. The moving images on the screen are camera records of events that have already taken place; they are remains of the past, strung together and called a film. In this hall of darkness, ghosts are watching ghosts. 

11 Questions for Alain Cavalier

Conversation
02.10.2024
FR EN

Rastko Novaković: After six decades of filmmaking, can you say what an image is, for you?

Alain Cavalier: Being able to take my camera out of its bag, when I’m struck by a human act, and having the chance to be well placed so that a cinematographic grace inhabits the shot.

Op stap met Chantal

Deel 2

Article
09.10.2024
NL FR
1 2

Onder het heerlijke ontbijt van pancakes met maple syrup spelde ik de Daily Variety uit, vooral de berichten over wie zich op welk moment waar bevindt. De rubriek From Los Angeles to New York; from New York to Los Angeles is belangrijker dan de weersvoorspelling. Zo kon ik Chantal dagelijks op de hoogte houden van het wel en wee van Hollywood, ons nieuwe dorp.

Op stap met Chantal

Deel 1

Article
25.09.2024
NL FR
1 2

Ze hield veel van een dialoog uit de film Muriel ou le temps d’un retour. Een vreemdeling in een nieuwbouwstad vraagt: “Pourriez-vous me dire, madame, où est le centre?” Zij antwoordt: “Mais vous y êtes, monsieur!” Is men er reeds of is men reeds elders? Komt men er ooit? Versnipperd zijn de centra, uit elkaar gerukt de koninkrijken en de steden.

La captive by Chantal Akerman

Article
11.09.2024
EN

This article is an extended version of a lecture held by Eric de Kuyper, co-writer of La captive (Chantal Akerman, 2000), at the cinema of the Deutsches Filmmuseum in Frankfurt on 1 November 2018, before the screening of the film. Eric de Kuyper: “Before I start, let me say this: No artist, no creator is able to analyse his or her own work. Of course, there are many artists who pretend to be able to evaluate their work. Don’t trust them. So, I will not be able – as a cowriter – to analyse La captive for you. What I can do is to tell you about … what happened in the kitchen.”

Waar komen we vandaan? Wat zijn we? Waar gaan we naartoe?

Dahomey (Mati Diop, 2024) en Césarée (Marguerite Duras, 1979)

Article
18.09.2024
NL

Als kunstwerk stelt Dahomey ons de vraag: hoe kan cinema een verhaal vertellen over, een ruimte bieden voor of helpen met de alomtegenwoordige koloniale residuen in onze maatschappijen? Wat betekent het überhaupt om te verlangen, terug te denken aan een verloren plek, en uiteindelijk ook terug te gaan naar die grond waar het allemaal gebeurde?

Transmigrating Souls

The Cinema of Apichatpong Weerasethakul

04.09.2024
A COLLECTION OF 5 texts, 16 film pages, 2 news items
NL EN

Thai filmmaker Apichatpong Weerasethakul (1970) is known for, among other films, Tropical Malady (2004) and Uncle Boonmee Who Can Recall His Past Lives (2010), which shows, in Apichatpong’s words, “the relationship between man and animal and at the same time destroys the line dividing them”. His latest film, Memoria (2021), takes place in Columbia, where a deep historical context resonates, foreign to both the main character and the director himself. His films experiment with the dramatic plot structure of Thai television, radio programs, comics and films. He often uses improvised dialogues and non-professional actors, exploring the boundaries between documentary and fiction.

Provoked Narratives
NEWS
11.10.2024
EN

Until 23 October, the Palestine Film Institute presents Provoked Narratives, a programme featuring ten films made between 1967 and 1984 in various contexts, each using different grammars of resistance, all live and resonant to this day. All films are freely available to stream on the Palestine Film Platform.

Chantal Akerman Retrospective and Blu-ray Release
NEWS
02.09.2024
EN

French independent cinephile label Capricci is re-releasing sixteen films by Chantal Akerman in French cinemas, alongside the release of a Blu-ray box featuring Akerman's feature-length and short films – the most complete collection available worldwide to date.

Related