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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.”

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. 

Five Artworks that Inspired Apichatpong Weerasethakul's Memoria (2021)

11.09.2024
A COLLECTION OF , 4 film pages
COMPILED BY Apichatpong Weerasethakul

On the occasion of his visit to Bozar in Brussels, Apichatpong Weerasethakul selects five artworks that revolve like satellites around his latest film Memoria (2021), films or other works of art that served as an inspiration or influence, thematically or in terms of form.

04.09.2024
FR EN

I chance to rewatch L’ordre (Jean-Daniel Pollet, Malo Aguettant and Maurice Born, 1973). Of all the voices I hear in the film, that of Epaminondas Remoundakis (E.R.) still exudes an undiminished anger. The very singular timbre of this voice is like a razor slicing through an eyeball, its range and cadence suggesting the terrible violence inflicted upon all those who — like E.R. — were lepers.

Francis Alÿs’ Children’s Games

Op een dag een film
26.06.2024
NL EN

De chaos van spelende kinderen heeft iets verontrustends; er wordt veel geschreeuwd, gegild en geroepen en het duurt altijd even voordat je kunt inschatten of het om onschuldig enthousiasme gaat of dat er een interventie noodzakelijk is. De energie van een speelplaats oscilleert tussen passionele geestdrift en baldadige opwinding, waar diepe concentratie stilletjes tussendoor sluipt; wanneer we het rumoer om ons heen laten spoelen en een scherm bekijken, zien we dat kinderen hun spel heel serieus nemen.

Jonathan Glazer’s The Zone of Interest (2023)

Article
12.06.2024
EN

By choosing to efface ideology and fanaticism, The Zone of Interest displays a woefully poor understanding of its subject. Historical analogy, as the great historian Marc Bloch once noted, cannot be reduced to a “hunt for resemblances” or satisfy itself “with forced analogies” but rather has the task of discovering the specificities of different historical periods. It is only through the use of analogy and disanalogy that the historian can, at the same time, seize the past and the characteristic newness of our present.

From 1996 to 2015

Article
12.06.2024
NL FR EN

“I understand people who say that this film will be their last. Then, a few years later, they make another. People tell them, but you said... Yes, I said that. As for me, I never said anything. But I’d thought about it hard after Divan, it had been too difficult... That wasn’t why I’d wanted to make films, having been inspired by Pierrot le fou. With that film of mine, I’d truly become an adult. Joined the world of adults who act like adults. I’d left behind the minority that Deleuze speaks of and I’d fallen into the noise. Yes, with Divan, I’d stopped dwelling on the nothing that my mother talks of when she says, there’s nothing to add.”

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.

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.

NEWS
04.09.2024
EN

Bozar has invited Thai filmmaker Apichatpong Weerasethakul to Brussels for a Close-up program, where he will present his first-ever performative VR project, showcase a selection of his films and film choices, and engage in a conversation about his work.

NEWS
09.09.2024
EN

The sixth edition of SHHH, the festival that celebrates the power and poetry of silent film, hosted by Monokino, will take place in Ostend from 13 to 14 September. This 6th edition is dedicated to The Social Life of Film, an international gathering of nomadic film platforms from various corners of the world.