Films byTexts by 1964
FILM
Charulata
Satyajit Ray, 1964, 117’

Satyajit Ray’s exquisite story of a woman’s artistic and romantic yearning takes place in late nineteenth-century, pre-independence India, in the gracious home of a liberal-minded, workaholic newspaper editor and his lonely wife, Charulata.

FILM
Black God, White Devil
Glauber Rocha, 1964, 120’

After killing his employer when said employer tries to cheat him out of his payment, a man becomes an outlaw and starts following a self-proclaimed saint.

 

“Here’s my rifle to save the poor from starving”

Corisco

 

FILM
Jean-Luc Godard, 1964, 95’

Two crooks with a fondness for old Hollywood B-movies convince a languages student to help them commit a robbery.

 

“All you need to make a movie is a girl and a gun.”

Jean-Luc Godard 

 

FILM
Love Meetings
Pier Paolo Pasolini, 1964, 93’

Director Pasolini traverses Italy in 1963 with camera and microphone interviewing people in public places about sex, marriage and gender roles.

 

FILM
Luis Buñuel, 1964, 97’

Hired as a maid by a rich family in Normandy, Celestine is forced to undergo the unpleasant habits of her insufferable hosts. Their obsessions and perversions lay bare the right-wing, fascist worldview of the provincial bourgeoisie in 1920s France.

 

FILM
Johan van der Keuken, 1964, 25’

How does a blind child percieve reality ? In order to explore this mystery, Johan Van der Keuken spent two months in a specialised institution in the Netherlands.

FILM
Jean-Daniel Pollet, 1964, 9’

After Méditeranée, Pollet returns to Bassae, a Greek archeological site located in the heart of the Peloponnesian peninsula.

Article NL
29.01.2020
Frieda Grafe 1964
Vertaald door

Godards camera bewaart een afstand; hij registreert. Godard weigert de kijker via dramaturgische manipulaties een mening op te dringen. De werkelijkheidsaanspraak van zijn kunst berust niet op een zo trouw mogelijke nabootsing van de werkelijkheid, maar manifesteert zich in de erkenning van het fictieve karakter ervan.

FILM
On the Road: A Document
Noriaki Tsuchimoto, 1964, 54’

“Suzuki Satsuo’s skilfully manipulated hand-held camera with a long lens is meticulous, at times sentimental, at times bold, focusing on his subject in a way that seems as though it were composing a melody with images. On the Road showed us a new, powerful type of image.

FILM
An Engineer’s Assistant
Noriaki Tsuchimoto, 1964, 37’

In 1962 verscherpte de Japanse nationale spoorwegmaat­schappij (JNR) de werkschema’s om een antwoord te bieden op de congestie op het spoor die veroorzaakt werd door een nieuwe sneltrein en het goederentransport in aanloop naar de Olympische Spelen van 1964.

FILM
Carl Theodor Dreyer, 1964, 118’

« Dreyer a pressenti le cinéma futur car il a eu la force de filmer la parole. »

Manoel de Oliveira1

 

FILM
Joris Ivens, 1964, 34’

“[Our film] will have a personal style. Not orthodox or academic. Not a social document or a militant or revolutionary film or with a message or a solution. Not educational. The film is not commissioned by the unions or by the department of urbanization of the municipality of Valparaiso.

FILM
Jacques Demy, 1964, 91’

Mécanicien: J’aime pas l’opéra. Le ciné, c’est mieux ! Tous ces gens qui chantent, tu comprends, ça me fait mal. J’aime mieux l’ciné !

Mme Emery: Ne pleure pas ! Regarde-moi. On ne meurt d'’amour qu’au cinéma.

 

FILM
I Am Cuba
Mikhail Kalatozov, 1964, 135’

“Unlike The Birth of a Nation, Battleship Potemkin, or Triumph of the Will, I Am Cuba is not a nationalist call to arms.

FILM
Andy Warhol, 1964, 321’

“Andy Warhol is taking cinema back to its origins, to the days of Lumière, for a rejuvenation and a cleansing. In his work, he has abandoned all the ‘cinematic’ form and subject adornments that cinema had gathered around itself until now.

Compilation EN
25.01.2017

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.

Compilation EN
25.01.2017

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.