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.”

note FR EN
24.09.2018

On the occasion of the retrospective film programme on Anne-Marie Miéville, organized by CINEMATEK and Courtisane in Brussels (4 - 30 October 2018), Sabzian, Courtisane and CINEMATEK compiled, edited and published the publication Pas de deux. The Cinema of Anne-Marie Miéville.

Article FR EN
10.10.2018

A l’orée des films d’Anne-Marie Miéville, avant même que le récit ne pointe ses orteils, au premier souffle enregistré par la caméra, une bouffée d’air sonore amorce un seuil où installer le spectateur. Strictement au présent. Un pas dehors, un pas à l’intérieur. On peut avoir l’illusion d’assister au tournage, (parfois avant : à son préambule), et que ce qui s’y déroule, l’instant dramatique, est également le nôtre.

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
26.09.2018

Verloren aan het einde van de wereld, in gezelschap van mijn brutale honden op mijn eiland Sal, herinner ik mij die januarimaand in Tokio, of ik herinner me eerder de beelden die ik heb gefilmd in die januarimaand in Tokio. Ze hebben nu de plaats ingenomen van mijn herinnering, ze zijn mijn herinnering. Ik vraag me af hoe mensen die niet filmen, niet fotograferen, geen video’s opnemen, zich herinneren. Hoe slaagde de mensheid er vroeger in zich te herinneren ...

note EN
12.10.2018

From 19 October to 27 January, the Serralves Museum in Porto, Portugal hosts a special exhibition dedicated to the work of Pedro Costa. Pedro Costa: Companhia is based on the premise that each film is a letter with an uncertain recipient: a postcard, according to Costa, which passes around from hand to hand and gathers in itself all layers of time.

Article NL EN
1.10.2018

For the cinema, as Godard once said, is “transitory, ephemeral”, written on the wind; inscribed only in fleeting traces, some disconnected images and sounds, and sentimentally overloaded, scrambled memories. Cinema is hard evidence, but only fitfully can it serve as a testament; death is too much at work there. It is the form of this remembered, necessarily scrappy, haunted, sad history of the twentieth century that Godard evokes in all the prodigious techniques of his Histoire(s) du cinéma

note EN
2.10.2018

Last month, Editions P.O.L. published the second volume of the French translation of Alexander Kluge’s literary magnum opus Chronique des Sentiments: L'inquiétance du temps.