Films byTexts by 1973
FILM
The Holy Mountain
Alejandro Jodorowsky, 1973, 114’

In a corrupt, greed-fueled world, a powerful alchemist leads a messianic character and seven materialistic figures to the Holy Mountain, where they hope to achieve enlightenment.

 

“You are excrement. You can turn yourself into gold.”

The Alchemist

 

Conversation EN
21.07.2021
J.-F. Camus 1973
Translated by

Atteyat Al-Abnoudy, a young Egyptian filmmaker, has won the Grand Prix du film documentaire in Grenoble and the International Federation of Film Critics prize for Horse of Mud. And for her film The Sad Song of Touha, she has won the Novais Teixeira prize: a prize founded in memory of our colleague who died last year and who was much loved by French critics. We met Atteyat Al-Abnoudy before she was awarded these important prizes, important for the direction she wishes to give to her work. Al-Abnoudy: “When I start a film, I don’t think about its form. When I became friends with the people in the factory, the only way for me as a filmmaker to express my feelings for them was to make a film.”

Conversation EN
21.07.2021

“I don’t want to make films because of some beautiful subject or because there’s something fascinating me in the colours or anything like that. It’s at least 50 years now making films in Egypt and always we see on the screen lovely houses and lovely hills, the decor and other fantastic things for us. But the poor people and the working class are not on the screen, when they have the right to be.”

FILM
Jean-Daniel Pollet, Maurice Born, 1973, 44’

Raimondakis speaks in the name of the lepers. He has spent 36 years of his life on the Greek island of Spinalonga, where a leper colony was based from 1904 to 1957.

Correspondence NL EN
12.02.2020

Het lijkt erop dat, terwijl al die anderen betaald zullen worden voor hun aandeel in een vertoning die niet had kunnen plaatsvinden zonder mij, ikzelf, de kunstenaar, ondanks alles niet betaald zal worden. 

Correspondence NL EN
12.02.2020

It seems that, while all these others are to be paid for their part in a show that could not have taken place without me, nonetheless, I, the artist, am not to be paid. 

Article NL
29.01.2020

Vigo’s films behoren tot het surrealisme. Niet de Breton-stroming met haar überidealisme, haar amour fou en, ondanks alles, haar paternalisme. Vigo is een van de “vijanden van binnenuit”, Bataille, Artaud, leven-boven-vorm, erotiek, het uitgeholde subject. De vernietiging van de maatschappelijke bovenbouw wordt de basis van elke revolutionaire actie.

Article NL
29.01.2020
Frieda Grafe 1973
Vertaald door

Ozu is een zencineast die in de positie van toeschouwer en afwachtende de wereld niet wil veranderen, maar zich vlak en onverschillig maakt als een waterspiegel en gereed is voor de indrukken van de wereld. De camera is bij het draaien steeds een fractie van zijn blik verwijderd: de ruimte geeft een versplinterde indruk.

FILM
Bill Douglas, 1973, 55’

In My Ain Folk (1973), Tommy is taken to a home whilst Jamie goes to live with his paternal grandmother whose cold contempt and mistreatment are only alleviated by her drinking habits.

FILM
The Spirit of the Beehive
Víctor Erice, 1973, 98’

In 1940, after watching and being traumatized by the movie Frankenstein (1931), a sensitive seven year-old girl living in a small Spanish village drifts into her own fantasy world. Produced as Franco’s long regime was nearing its end and widely regarded as the greatest Spani

FILM
Bill Gunn, 1973, 113’

“I want to say that it is a terrible thing to be a black artist in this country – for reasons too private to expose to the arrogance of white criticism. [...] A critic wondered where was the race problem. If he looks closely, he will find it in his own review.

FILM
Sanrizuka – Heta Village
Shinsuke Ogawa, 1973, 146’

“In a similar way to Minamata: The Victims and Their World, this particular film is a contrastive, reflective work that gains by being juxtaposed with what had preceded it.

FILM
Journey of the Hyena
Djibril Diop Mambéty, 1973, 88’

Mory, a charismatic cowherd who drives a motorcycle mounted with a bull-horned skull, and Anta, a female student, meet in Dakar. Alienated and tired of life in Senegal, they dream of going to Paris and come up with different schemes to raise money for the trip.

 

FILM
Rainer Werner Fassbinder, 1973, 92’

Rainer Werner Fassbinder pays homage to his cinematic hero Douglas Sirk with this update of that filmmaker’s 1955 All That Heaven Allows. A lonely widow meets a much younger Arab worker in a bar during a rainstorm.

FILM
Five Days For Peace
Nils Vest, 1973, 37’

“In June 1973, NATO holds a ministerial meeting in Copenhagen. During the day of the meeting, divisions of soldiers appear in the street scene, where they observe and fight NATO’s ‘inner enemies’ with remarkable zeal.

FILM
A River Called Titas
Ritwik Ghatak, 1973, 159’

“l tried to make a film with such a theme in such a country which, on reflection, l consider to be an act of suicide. Only, a lunatic or an ass would try to make a film like that in that country and I was both – a lunatic and an ass.”

FILM
The Mother and the Whore
Jean Eustache, 1973, 217’

The chauvinist Alexandre balances relationships with several women, including the maternal Marie and the sexually liberated Veronika, in the post-1968 intellectual scene of Paris.

 

FILM
The Mongols
Parviz Kimiavi, 1973, 92’

“Born in Tehran in 1939, Parviz Kimiavi studied photography and film in Paris and worked at the public television network Office de Radiodiffusion Télévision Française (ORTF), before returning to Iran in 1969.

Conversation NL FR EN
1.11.2017

De mythe van deze cinemavorm is het collectieve creatieproces dat zich afspeelt in volle vrolijkheid en spontaniteit, waaraan iedereen ‘deelneemt’. Ik denk dat dit niet klopt. Het is daarentegen iets wat zich afspeelt in een relatief gespannen sfeer omdat niemand weet waar we zijn, iedereen verdwaald is, we allemaal in het duister tasten, de acteurs, de technici, de cineast. We weten echt niet wat er gebeurt. Ik denk dat de enig mogelijke houding in dat geval is om een perspectief aan te nemen voorbij goed en slecht – iets wat ik zo goed en zo kwaad mogelijk heb geprobeerd te doen. Je moet bijna weigeren om op het moment zelf te oordelen over wat er gedraaid wordt. Er zijn momenten waarop je het gevoel hebt dat je alles moet laten verdergaan en andere momenten waarop ik me toch plots vastbijt in een detail: het moet zo, op dit moment moet het personage precies dat zeggen.

FILM
The Wedding
Andrzej Wajda, 1973, 102’

“Wajda’s masterpiece takes us to the very heart of Polish reality. [...] At first glance, it deals with an atmosphere of happiness in which the camera participates without restraint.

Conversation NL FR EN
26.11.2015

Time was, in a so-called classical tradition of cinema, when the preparation of a film meant first of all finding a good story, developing it, scripting it and writing dialogue; with that done, you found actors who suited the characters and then you shot it. This is something I’ve done twice, with Paris nous appartient and La religieuse, and I found the method totally unsatisfying, if only because it involves such boredom. What I have tried since – after many others, following the precedents of Rouch, Godard and so on – is to attempt to find, alone or in company (I always set out from the desire to make a film with particular actors), a generating principle which will then, as though on its own (I stress the ‘as though’), develop in an autonomous manner and engender a filmic product from which, afterwards, a film destined eventually for screening to audiences can be cut, or rather ‘produced’.

Conversation NL FR EN
26.11.2015

Autrefois, dans une tradition dite classique du cinéma, la préparation d’un film consistait d’abord à rechercher une bonne histoire, à la développer, à l’écrire, à la dialoguer ; à partir de ça, à chercher des comédiens qui correspondraient aux personnages, ensuite à mettre en scène, etc. C’est une chose que j’ai faite deux fois, avec Paris nous appartient et La religieuse, et cette méthode-là m’est apparue complètement insatisfaisante, ne serait-ce qu’à cause de l’ennui énorme que ça entraîne. Ce que j’ai essayé depuis – après beaucoup d’autres, en suivant les précédents de Rouch, de Godard, d’autres... – c’est plutôt de tâcher de trouver, seul ou à plusieurs (je pars toujours de l’envie de tourner avec tel et tel comédien), un principe générateur qui ensuite, comme de lui-même (je souligne le comme), se développerait de façon autonome, et engendrerait une production filmique dans laquelle on pourrait après découper en quelque sorte, ou plutôt « monter », un film destiné à être projeté à des spectateurs éventuels.