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Article
05.11.2025
NL FR

Annette Apon (1949) is een Nederlandse filmmaker, scenarist en producent. In 1973 speelde en werkte zij mee aan de productie van Frans van de Staaks Uit het werk van Baruch d’Espinoza 1632–1677. Op 29 september 2025 werd deze film, samen met Terzake (1977), in CINEMATEK in Brussel vertoond in het kader van een retrospectieve van Van de Staak, voorafgegaan door deze introductie.

05.11.2025
NL

Enkele seconden van La pianiste (Michael Haneke, 2001) worden in beslag genomen door een minimalistische compositie: een witte, onbeschreven enveloppe rust op de zwarte lak van een piano. Er weerklinkt een stuk van Schubert dat wordt gespeeld door Walter Klemmer, een student die beweert hopeloos verliefd te zijn op zijn pianolerares, professor Erika Kohut. De enveloppe in kwestie wordt geopend achter een gebarricadeerde deur in het appartement van Erika en haar moeder.

October 4

Article
05.11.2025
EN

What is it, in essence, that Fellini doesn’t like? The poverty, the sloppiness, the coarseness, the awkward, almost anonymous pedantry with which I’ve shot the scene. Fine, I agree. It was my first experiment. For the first time in my life I found myself behind a movie camera, and this movie camera was all beat up, old, and could hold only a little film at a time. I was supposed to film an entire scene in a day. And the actors too were in front of a movie camera for the first time. What was I supposed to do, work a miracle? Yes, of course, Fellini had been expecting a miracle.

Article
29.10.2025
NL

Julian, maar evengoed andere recente films als Skunk of Small Things Like These en zeker Close, capteren feilloos de hedendaagse gevoeligheid waarin sentimentele druk de ultieme munteenheid van artistieke kwaliteit is geworden. De zogenaamde “mokerslag” die deze films uitdelen, is allerminst emancipatorisch. Pijn en verlies lijken de enige toegelaten sleutels tot diepgang. Elk gevoel wordt met zwaar geschut afgedwongen: grensoverschrijdend gedrag in Julie zwijgt, incest in Dalva, pestgedrag in Holly, Un monde en Skunk, zelfverminking in Girl, zelfdoding in Close en een terminale ziekte in Julian. Alsof enkel het noodlottige leven waarde heeft.

Sabzian x Avila

22.10.2025
A COLLECTION OF 18 texts,
NL FR EN

Together with Avila, the non-profit film distributor dedicated to showcasing Belgian auteur cinema online and in cinemas, we’re happy to present a curated selection of interviews from our archive with Belgian filmmakers whose work can be watched on Avila. These include, among others, Ellen Vermeulen, Bas Devos, Eric de Kuyper, Boris Lehman, the Dardenne brothers, as well as several founding members of Sabzian. A rich collection of voices that spans more than half a century of Belgian film history.

Article
29.10.2025
NL EN

During editing, the filmmaker decides how each shot should be preceded and followed by other shots. Sound does not come after (or alongside) the image: sound is visible on the screen, it's part of the image, it comes out of the image, it's all around the screen, sound embraces the screen.

Jacq Firmin Vogelaar and Frans van de Staak

Conversation
15.10.2025
NL EN

The way the actors stand there is as important as the text they utter – everything must become equally important, and therefore meaningless, because then it dissolves into itself. The texts you hear in the film are no longer the texts you read, although just as many images can be associated with them. The text has disappeared in the film, has sunk into it. In combination with these film images, you can say that this text materially no longer exists.

Article
01.10.2025
NL FR EN

On the little TV screen the person who looks at us is supposed to talk to us face to face, person to person; he or she is among us. This is where that feeling of intimacy that presides over Impromptu du dimanche comes from. But let this interlocutor stumble and lose the thread of his discourse, and the falseness of this illusory situation is brutally revealed, because we can do nothing for him and he, many kilometers away from us, finds himself alone, if not disabled, in front of soulless recording machines.

Albert Serra’s Tardes de soledad [Afternoons of Solitude] (2024)

Article
08.10.2025
NL EN

De kijkdoos die cinema is, wordt ons in een uitgeklede vorm gepresenteerd: als gepermitteerde voyeurs, balancerend tussen identificatie en sadisme, hopend op een “goede” uitkomst, kijken we naar wat ons gegeven wordt om er, eenvoudigweg, naar te kijken. De gruwel van het geweld wordt een intiem en haast zinnelijk spektakel van kleurvlakken en plasticiteit, waarin geelroze en rode doeken, rode muren, lichtgeel zand, glinsterend donkerrood bloed, witte banderillos en de groen-, roodzwart- en witgeel geklede, haast dansende matadors samensmelten tot een plastisch feest van kleuren en lichamen. Wordt ons gegeven wat we verlangen te zien? Waarom verveelt het ons dan?

COMPILED BY Arta Barzanji, Gerard-Jan Claes

Serge Daney (1944–1992) remains one of the 20th century’s most influential film critics. As a country that was “still missing” from his map, cinema embodied a deeply felt promise of universality for Daney. He longed for a shared imaginary space through cinema, a global citizenship of viewers, where images connect us without requiring us to be the same, allowing us to imagine ourselves somehow in relation to the world. This issue, comprising contributions from critics, academics and translators from around the world, aims to reflect on the continued resonance of his writings and ideas, reminding us of the promise of that missing country called cinema: an imaginary space that is nonetheless home to “true inhabitants who [speak] the same language.”

Article
10.09.2025
FR EN

I never decided to become a documentary filmmaker; that is to say, to camp once and for all inside a given space. Besides, I hate that term: documentary filmmaker. It helps to erect a boundary around a genre that has never ceased to evolve and whose porosity, shifting contours, and almost consanguine ties with the genre it is always set against, fiction, are on the contrary well known. For it is indeed true that images are less faithful to “reality” than to the intentions of those who produce them.

NEWS
15.10.2025
NL FR EN

Last year Sabzian celebrated its 10th anniversary. Since 2014, we have been publishing essays, interviews, translations, curated Collections and Issues, a calendar, and more – all freely accessible and created with a love for cinema. To continue this work, we need your support! Become a Supporter or Patreon, or make a one-time donation. 

Obituaries
03.11.2025
EN

British filmmaker Peter Watkins passed away last week near Felletin, France, where he had lived for more than twenty-five years. He had just turned ninety.