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In the first half of The Northman (2022) – Robert Eggers’s rendering of the original Hamlet saga – viewers are witness to a massacre. The year is 900 AD. A band of Vikings has breached a walled enclosure in the Russian river delta; clad in their wolf skins, they embark on a grisly rampage wielding torches, arrows, and axes.

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Linda Polan 1985
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Naughty Boys was the second film De Kuyper made with friends and students, but here for the first time they were joined by a “professional” actress, Linda Polan. The text below is a testimony of her experience of working with De Kuyper, preceded by an introduction by the Belgian filmmaker. Polan: “Looking back as I write this, a year later, I wonder what it was I was so frightened of. I must admit to a terrible fear of being found unsatisfactory – sent back; returned to the manufacturer, like something on approval from Peter Jones. I suppose it was that.”

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Serge Daney is the force of a surprising opening gambit. In the form of a question, or the negation of obviousness, as a rhyme of ideas or right away with a brutal argumentation that stalemates you, “if... then”. The strategy of the brusque but also panicky outburst. The ground is not prepared, the argument not introduced. He parachutes the reader straight into the war zone. Bullets whizz around his ears, mines surround him. But the author says: I will lead you through it!

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Cineville launches a new subscription granting you access to as many great films as you like in three independent cinemas in Brussels, and soon others.

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This month, a new generation of graduating film students from LUCA School of Arts, INSAS (Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion) and KASK School of Arts present their work for the first time.

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Hoewel Un monde bij momenten valse hoop wekt, zeker wanneer het spookbeeld van het personage Ana Torrent uit Spirit of the Beehive (Victor Erice, 1973) wordt opgeroepen, is de film uiteindelijk weinig meer dan de zoveelste “mokerslagfilm”, waarvan de zogenaamd ingenieuze insteek in wezen afgezaagd en verstikkend blijkt en het einde als enige doel heeft de toeschouwer een flinke klap te verkopen.

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There are many things I love in ‘A Free Replay’: core ideas about the film’s logic condensed in a few strong formulations; a daring attempt at interpretation that is also a manifesto for the imaginary (and, perhaps, a sophisticated ruse); a deceptively meandering appearance (“notes”?) under which lies an exhaustive analytical work and a strong internal cohesion; tons of obsessive research gracefully (sometimes whimsically) threaded into the main argument; a trust in rhetoric and a taste for its pleasures; and a high degree of performativity, since Marker is constantly staging, executing and playing with the very ideas (the elliptical, the mirroring, the space-time relation, the stratagem, the replay…) that inform his discussion of Vertigo.

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The title of the text “Straschek 1963–74 West Berlin” is as simple as it is informative: it is a subjective, self-reflective insight into Günter Peter Straschek’s eleven years in West Berlin. Straschek: “Making movies is, for me, just one means of expressing myself. The idea of blustering my way around this trade to the end of my days (in line with the TV­formula: regular staff editor marries secretary while secretly supporting film editor girlfriend) scares me. If, for example, I really stood no chance of making films for TV, I would move to another country or work in an institute or publish a book or go off somewhere for a couple of years and do manual work or take a civil service job. I’d like to live in as unalienated a way as possible; things are awful enough as they are.”

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Eind 1991 verscheen het eerste nummer van Trafic, het testamentaire geesteskind van de vorig jaar overleden criticus Serge Daney. Voor Daney vormden “wereld” en “cinema” een onlosmakelijk geheel. (...) Met Trafic wou hij onderzoeken of vanuit cinema opnieuw een kritische distantie ontwikkeld kon worden. (...) Een gesprek met drie van de vier redactieleden: Raymond Bellour, Patrice Rollet, Jean-Claude Biette, beheerders van een zware erflast. Rollet: “We vertrekken vanuit de overtuiging dat de film moet blijven bestaan omdat ze een unieke ervaring is en blijft. Indien de film zou verdwijnen zou een deel van de mensheid verdwijnen want de cinematografische ervaring kan niet worden omgeschakeld naar een andere.”

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On June 8, French writer, philosopher, art critic, and cinema theorist Jean-Louis Schefer passed away at the age of 83.

From the Archive

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If I raise this matter of images it is rather to give you some idea of how the movie mind works. It has to feel its way through the appearances of things, choosing, discarding and choosing again, seeking always those more significant appearances, which are like yeast to the plain dough of the context. Sometimes they are there for the taking; as often as not you have to make a journey into a far country to find them. That, however, is no more difficult for cinema than for poetry. The camera is by instinct, if not by training, a wanderer.

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“I’m fascinated by editing. It’s the part of filmmaking I love most. I could spend my whole life editing. I wouldn’t go out anymore. I would stop noticing the difference between day and night.” In 1988, Mart Dominicus and Mark-Paul Meyer conducted a conversation for Skrien with filmmaker Kira Muratova about her The Long Farewell (1971) and Brief Encounters (1968).

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“Hoe kan ik”, vraagt de nog jonge Farocki zich af, “een beeld tonen van de verwondingen veroorzaakt door napalm? Wanneer ik een beeld laat zien van een slachtoffer, zal u uw ogen sluiten. Eerst zal u uw ogen voor de beelden sluiten. Dan zal u uw ogen voor de herinnering daaraan sluiten. Dan zal u uw ogen voor de feiten sluiten. Dan zal u uw ogen voor de context sluiten. Wanneer ik een beeld laat zien van iemand die verwond is door napalm, zal ik uw gevoel verwonden. Wanneer ik uw gevoel verwond, lijkt het alsof u zelf getroffen bent door napalm. We kunnen alleen een zwakke voorstelling geven van hoe napalm werkt.”