Films byTexts by 1971
Peter Bogdanovich, 1971, 118’

Life through the eyes of three aimless teenagers in small-town Texas during the 1950s. Unable to make decisions about the future, they continue drifting between boyhood and adulthood as the end of high school approaches.


Hal Ashby, 1971, 91’

Harold is a social misfit in his early twenties and obsessed with death. When he meets Maude, an eccentric septuagenarian widow who thinks life should be lived to the fullest, his views are shaken and his desire to die fades.

Article EN

As part of its 1971–1972 programme, the Van Abbemuseum in Eindhoven has planned an exhibition on the street as a form of visual environment. The museum thus becomes part of an international trend that manifests a renewed interest in the street as a living environment.

Robert Bresson, 1971, 87’

The “dreamer” is Jacques, a young painter, who by chance runs into Marthe as she's contemplating suicide on the Pont-Neuf in Paris. They talk, and agree to see each other again the next night.

Robbe De Hert, 1971, 98’

The first part of the film contains footage of the first day of school for small children, the Belgian National Holiday, the anti-nuclear protests, the beer festivals in Wieze, the De Scheldeprijs cycling race in Schoten and the IJzerbedevaart in Diksmuide.

Bruce Baillie, 1971, 56’

Part Eastern philosophy, part gunslinger Western, Quick Billy plays as a “horse opera in four reels” and meditation on the transformation of life to death, conceived for viewing with a single projector to allow the natural pauses between reels.


Peter Watkins, 1971, 91’

1970. THE WAR in Vietnam is escalating. President Nixon has decided on a secret bombing campaign of Cambodia. There is massive public protest in the United States and elsewhere.

Agnus Dei
Miklós Jancsó, 1971, 84’

Égi bárány, or Agnus Dei, deals with the period in Hungary's history immediately following the overthrow of the Bela Kun Commune in 1919.

Roberto Rossellini, 1971, 120’

“Socrates was a guy just like Roberto [Rossellini]... He pissed everyone off, just by simply expanding on things, by going a little further. He had nothing of his own: he took from others and adapted things.”

Michael Snow, 1971, 190’

“The camera of La Region Centrale, instructed and controlled by the machine, turns in a wild and isolated Canadian landscape in a series of circular variations whose multiplicity of speed, direction, focus is the function of a ‘liberated’ eye.

Minamata – The Victims and Their World
Noriaki Tsuchimoto, 1971, 105’

“On the other side of the bay from Minamata, on the islands off the coast of Amakusa and Kagoshima, I spent over a hundred some days going around showing Minamata films with my staff with a simple intention: I knew that although there were many Minamata victims there, through pressure from either

William Greaves, 1971, 75’

“Symbiopsychotaxiplasm is neither a documentary nor a traditional feature. At least I don’t feel that it is. It is more of a happening. Instead of being a form of conventional art it is apiece of abstract art. Abstract in the sense that it does not obey the language of convention.

Sanrizuka – Peasants of the Second Fortress
Shinsuke Ogawa, 1971, 143’

“Amid this cinematic spectacle, familiar from previous films but now considerably larger and more violent, something very different is going on. In Peasants of the Second Fortress there are occasional moments when the action of the film grinds to a halt and people simply talk.

Nicolas Roeg, 1971, 100’

“The script was fourteen or fifteen pages long. It was nothing of it, I had to do a lot on the script before presenting it to some money-people.

The Long Farewell
Kira Muratova, 1971, 97’

A single mother is confused by the changes in her teenage son, who has become distant since spending summer vacation with his father.


Pier Paolo Pasolini, 1971, 111’

Pasolini’s obsession was with finding a world outside of all the commodifications of capitalism, including, prominently, the bodily.

Jacques Tati, 1971, 96’

“Comedians are often our best historians of the present because they are at once intensely invested in and poorly adapted to their moment, at one and yet out of sync with their surroundings and situation.