Article NL

Soy libre overstijgt het louter biografische. Het concrete leven van Arnaud krijgt een zinderende abstractie doordat het ingeschreven wordt in een geschiedenis. Soy libre is in die zin een klassieke vertelling, een hedendaagse levenskroniek die doet denken aan het werk van John Ford. Zoals de films van de Amerikaanse filmmaker laten zien, wordt veel van het menselijke weerwerk bepaald door de maatschappelijke omgeving. Als een gids door een woelige wereld zoekt Arnaud een antwoord op de vraag wat het leven dan de moeite waard maakt.

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Renoir: documentarian of illusion, realist of light comedy. He distrusted creativity’s desire to rule but instead practised creativity that creates possibilities. Whoever wants to rule, must focus the field on one dominant point and neutralise all other solidarities and affinities. Similarly, whoever wants to rule the audience for the duration of a film: focus and concentrate all energy on one point! (Fear is the best strategy to do so.)

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Beyond the terminal station at the edge of the Roman campagna, an arterial road begins, the Via Tuscolana. To the right, a film school; to the left, the walled film city Cinecittà. I looked at those great European film studios for two years but they did not stir my imagination one bit.

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À l’injonction du « il faut avoir vécu pour bien jouer » (Introduction), Juste sous vos yeux oppose le « vivre sans jouer ». À l’interrogation : « ma vie a-t-elle déjà réellement commencé ? » (Introduction), Juste sous vos yeux oppose une autre angoisse : « cette vie est-elle déjà finie ? ». Ces deux extrêmes ne cessent de se renvoyer la balle. Comme deux miroirs que l’on placerait l’un en face de l’autre, ces deux films ne cessent de se renvoyer de troublantes résonances obliques. C’est la grâce de Hong Sang-soo que de faire naître un vertige d’interrogations existentielles dans l’intervalle entre ses films. Pour autant, ce que nous voyons dans ses films, c’est un pur présent, aux teintes toujours renouvelées, qui nous dit que l’essentiel est toujours devant : devant la vie à venir, comme devant nos yeux.

Manifesto NL FR EN ZH
Wang Bing 2022
Translated by

After independent films first appeared on the Chinese cinematic landscape three decades ago, they gradually became the method of choice among young Chinese filmmakers. The large number of Chinese independent films also transformed the broader creative ecosystem by bending the constraints of China’s once-monolithic state-controlled film system. These positive developments gave many filmmakers great optimism and confidence in the future of Chinese film. In recent years, however, domestic political changes and the effects of the pandemic have essentially put a halt to the development and production of independent films in China. There are very few directors left who continue to create independent films.

Article EN

Wang Bing explores how people’s ideals and dreams relate to reality, how cinema makes it possible to affectively rethink one’s subjective relationship to society. Wang belongs to a generation of Chinese filmmakers who since the 1990s, but exponentially since the turn of the century thanks to the introduction of lightweight affordable DV cameras, document society from the bottom up, independently, (mostly) outside of the state-sanctioned film industry.

Conversation EN

“I discovered filmmaking by chance. Through an early short film that I thought was successful, I found out what I could create without language, only with the language of a small silent Super 8 film. This was overwhelming. I filmed quite a lot, and I realized that my approach to the world was very visual, although language still matters to me: I studied languages and love foreign languages, I lived abroad, I love poetry. But it was something else to create purely visual films.”

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Starting from 18 January, independent cinephile label Capricci is launching a new retrospective of 10 restored films by Jean-Marie Straub and Danièle Huillet for distribution in French theatres.

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Canadian painter, jazz pianist, photographer, sculptor and filmmaker Michael Snow passed away on 5 January. 

From the Archive

Conversation EN

“And that is the problem that most of the discourse runs into. In other words, as long as you keep insisting that the reasons why people make certain social acts are purposive, rational and programmatic, you’re gonna miss the point, which is that we’re not entirely rational in our actions. [...] I tried – like everybody else I was looking and asking around – but when we put it together, we realised it just wasn’t enough. It didn’t seem to explain the cataclysm. So you needed other ways of trying to do that and we did. We were editing this for a year trying to take seriously the folkloric and the ethnographic and it just wasn’t there. There was always a gap between the fire and the voice.”


My Crasy Life spreekt zich, in de wijze waarop erin gesproken wordt, uit over taal: over wijzen van spreken. Of er nu gesproken wordt in gebaren (via blad-steen-schaar, via handshakes en gang signs), in woorden (Samoaans, slang of Amerikaans Engels) of in computerdata: Gorin vertaalt het vertelde volgens een cinematografische grammatica die de complexiteit van de hedendaagse Amerikaanse samenleving omhelst.

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Hatari! is an enormous film, one which is only saved from its monstrosity by the incredible intelligence of its director. It is a summation in which all the aspects of cinema are stirred together, amalgamated. The labyrinthine complexity of its construction is dizzying. Watching it can only put one off, or leave them wiped out.