Films byTexts by 1963
Joseph Losey, 1963, 116’

The Servant explores the inherent tensions of the English class system through the power dynamics between a wealthy londener and his mysterious butler. Gradually, the butler starts pulling the strings as he gains control over his employer.

Agnès Varda, 1963, 30’

A photo montage of Cubans filmed by Agnes Varda during her visit to Cuba in 1963. The film explores Cuban society and culture post-revolution.


Article FR EN

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.

Bertrand Blier, 1963, 95’

Young parisians speak about their life, their hopes and fears, and about love.


« Il s'agit uniquement de onze jeunes qui ont, ou qui vont avoir vingt ans en 1963. Onze personnages c'est tout... choisis dans le but de faire un spectacle et non une enquête. » 

Chris Marker, Pierre Lhomme, 1963, 165’

Le joli mai is a portrait of Paris and its inhabitants in the month of May, 1962. Although the war with Algeria officially ended and a promise of peace and prosperity fills the springtime air, the spectre of the war still looms.


Article NL

Een onbekend geheugen vlucht halsstarrig naar steeds langer vervlogen tijden. De indruk van ouderdom neemt toe. Velerlei landen… valselijk ingeslapen... En alles lijkt het geordende te hebben van het buiten…onfeilbaar… En steeds die vloed van onmetelijkheid vanbinnen, ‑ die vloed van zwevend geheugen…

De Nederlandse vertaling van de tekst van Philippe Sollers voor Méditerranée van Jean-Daniel Pollet uit 1963.

Jean-Daniel Pollet, 1963, 44’

A subjective voyage through the civilisation, the spaces and the light of the Mediterranean, accompanied by a text by Philippe Sollers and Antoine Duhamel’s music. 


Article FR EN

Hatari ! (Howard Hawks, 1962) est un film énorme, que seule l’incroyable intelligence de son réalisateur parvient à sauver de la monstruosité. C’est une somme où tous les aspects du cinéma sont brassés, amalgamés. La complexité labyrinthale de sa construction donne le vertige. Sa vision ne peut que rebuter ou laisser anéanti.

Barbara Rubin, 1963, 43’

“Barbara Rubin’s [...] Christmas on Earth is the filmic record of an orgy staged in a New York City apartment in 1963.

Jack Smith, 1963, 30’

In this, his best known film, characters cavort in a setting reminiscent of the court of Ali Baba, with a mood suggestive of the paintings of Hieronymous Bosch.

The Other Christopher
Armand Gatti, 1963, 115’

Like Columbus who discovered America and changed the course of history, the ‘other Christopher Columbus’, Cristóbal, a shipwrecked mariner from the Mediterranean, discovered America anew in twentieth-century Cuba, where the course of history was again to be changed.


The Executioner
Luis García Berlanga, 1963, 90’

Woman in the book fair: Have you got something about Bergman or Antonioni?

Sr. Corcuera: Bergman... Bergman? The actress?


The Insect Woman
Shôhei Imamura, 1963, 123’

“Avant-garde filmmakers, in particular, Imamura Shōhei, contest this hegemonic ‘official’ version, or definition, of what essentially it is to be Japanese in an increasingly American-dominated global socio-economic and cultural milieu.

When the Cat Comes
Vojtech Jasný, 1963, 91’

“Listen Robert, denoting your superior as a murderer in public doesn’t seem like constructive criticism.”

The school director


The House is Black
Forugh Farrokhzad, 1963, 20’

The only film directed by trailblazing feminist Iranian poet Forugh Farrokhzad. She finds unexpected grace where few would think to look: a leper colony where inhabitants live, worship, learn, play, and celebrate in a self-contained community cut off from the rest of the world.

Edmond Bernhard, 1963, 22’

Dimanche was supposed to be a didactic film, intended to evoke the problem of leisure. Bernhard diverts the order and outwits the trap of the ‘thematic’ film.

Jean-Luc Godard, 1963, 102’

“When I think about it, Le mépris, seems to me, beyond its psychological study of a woman who despises her husband, the story of castaways of the Western world, survivors of the shipwreck of modernity who, like the heroes of Verne and Stevenson, one day reach a mysterious deserted island