Films byTexts by 1974
Conversation EN

The Hour of Liberation is, therefore, a partisan film at all levels. In terms of the montage as well: you can’t place images filmed on both sides of the fence in any order, and tell the viewer to choose sides; that would put oppression and freedom, injustice and justice on the same level. The film is constructed on a structure that rejects the bourgeois conception of ‘objectivity’: it clearly takes sides, without necessarily hiding the difficulties of the struggle, without hiding the contradictions, without ultimately lapsing into triumphalism. The entire montage is conceived to produce an analysis of what a people’s war is.”

Johan van der Keuken, 1974, 39’

In Vakantie van de filmer, van der Keuken brings together various audio and visual material: memories of an elderly married couple, personal holiday photos, the saxophonist Ben Webster, poems and a portrait of his grandfather who introduced him to the world of photography.

Robert Bresson, 1974, 88’

King Arthur learns about his wife’s, Queen Guinevere, affair with Lancelot, who at the same time remains loyal to the king, particularly after Arthur's traitorous nephew Mordred commits an attempt on his life.


Philippe Garrel, 1974, 82’

This silent film consists of a series of fragmentary moments featuring three women (Jean Seberg, Tina Aumont and Nico) and, occasionally, a man (Laurent Terzieff) in an apartment. Moments from daily life: conversations, psychodramas.

Dore O., 1974, 21’

A balance of being enclosed in divided space.

Dore O.


Peter Watkins, 1974, 174’

Late 19th century in Norway. Edvard Munch is a promising young painter but he is also a man tormented by his love dramas, the fear of falling ill and tapped by an idea: to be recognized at the height of his talent.

Article NL
Frieda Grafe 1974
Vertaald door

De kern van Dreyers films openbaart zich niet onmiddellijk. Hij duidt de contouren aan. De beelden zijn slechts resten van het oneindige, van het ongevormde, van het mogelijke, verheven en star, om hun beperkingen te demonstreren. In Dreyer-films kan je je nooit met slechts één personage identificeren, helden en booswichten zijn er niet. De strijd is kosmischer, maar niet ahistorisch. Wat bij hem in botsing komt, zijn ordes, of beter gezegd orde en wanorde.

Law & Order in Christiania 1
Nils Vest, 1974, 8’

“In the spring of 1974, the bourgeois government, with Defense Minister Brøndum, planned a veritable campaign against the newly established sanctuary Christiania. No less than 60 houses would have been demolished, with the grounds that they were flammable and in poor construction condition.

Jacques Rivette, 1974, 193’

“Rivette’s film […] focuses not on women as sexual objects but as the desiring subjects of the narrative. The two female protagonists do not conform to a male fantasy, rather it is their own fantasies which dynamise and direct the film the inhabit.

Jean Eustache, 1974, 123’

Ô mes petites amoureuses,
Que je vous hais!
Plaquez de fouffes douloureuses
Vos tétons laids!

Arthur Rimbaud, ‘Mes petites amoureuses’, 1871


Rainer Werner Fassbinder, 1974, 120’

“I find women more interesting. They don’t interest me just because they’re oppressed – it’s not that simple.

Guy Sherwin, 1974, 3’

A slow–dripping tap disturbs the reflection of clouds seen through the window.

António Reis, 1974, 35’

“In 1973 Antonio Reis devotes a film to the drawing work of a peasant, Jaime Fernandes, shot in the place of his psychiatric isolation.

Chantal Akerman, 1974, 86’

« Je, tu, il, elle est un film unique, pour moi : il reste extrêmement fort parce qu’il est fait avec sa chair, sa peau, sa vie. Quand on dit que quelqu’un a tout mis dans un film, on peut dire qu’elle a effectivement toujours tout mis dans son cinéma, sans artifice. »

Johan van der Keuken, 1974, 76’

“Sinds Dagboek probeer ik in de montage zoveel mogelijk het begin van de zoombeweging af te snijden – het is dus geen shot dat begint te bewegen, het is een beweging die er al is. Het shot ervoor is vaak een stilstaand shot.