Films byTexts by 1987
Compilation NL EN
11.05.2016

Film is fundamentally the choice of a viewpoint in space, toward that space. Film is recording and therefore fundamentally contemporary (one cannot record that which is gone, the past). The spectator always watches contemporary images (even when they have aged, they remain contemporary through their model). This disposition sees to it that those who love films become ‘contemporary’ with every film.

Compilation NL EN
30.03.2015

De bioscoop was zijn Amerika, de beelden volgden elkaar op als plechtige zevenmijlsstappen, of als het rennen van de honderd meter. Hij schoof van plek naar plek, van de ene naar de andere figuur. En steeds gebeurde dat in die ene juiste afstand. [...] Later begreep hij dat alles draaide rond een oxymoron: onbeweeglijk bewogen te worden.

FILM
Paul Verhoeven, 1987, 99’

In a dystopic and crime-ridden Detroit, a terminally wounded cop returns to the force as a powerful cyborg haunted by submerged memories.

 

 

Part man, part machine. All cop. The future of law enforcement.

 

FILM
Su Friedrich, 1987, 42’

Damned If You Don’t is Friedrich’s subversive and ecstatic response to her Catholic upbringing. Blending conventional narrative technique with impressionistic camerawork, symbols and voice-overs, this film creates an intimate study of sexual expression and repression.

FILM
Jef Cornelis, 1987, 63’

Voor 3 x Kunstonderwijs nodigde de veertienkoppige televisieploeg van Jef Cornelis zichzelf in drie kunstscholen uit: de Koninklijke Academie voor Schone Kunsten van Gent, de Koninklijke Academie voor Schone Kunsten van Antwerpen en het Nationaal Hoger Instituut (dat toen nog op de site

Article EN
27.03.2019

We made the scene in which the farmers perform themselves entirely with this kind of method: the villagers and we would bring up “ideas” and discuss them between ourselves; and while we grew closer to one another, we made the film. We didn’t want a reproduction of the story per se, but we wanted to document the heart and soul of the people who tell these stories.

FILM
Wedding in Galilee
Michel Khleifi, 1987, 100’

“For Wedding in Galilee, the idea came to me through the story of a quack doctor who was faced with a newly wed couple unable to make love on their wedding night, creating unbearable tension in a village.

FILM
The Journey
Peter Watkins, 1987, 873’

“The 14½ hours of The Journey are organized into an immense filmic weave that includes candid discussions with ‘ordinary people’ from many countries; community dramatizations; a variety of forms of deconstructive analysis of conventional media practices; presentations of art works by oth

FILM
Where Is the Friend’s Home?
Abbas Kiarostami, 1987, 87’

“The journey forms part of our culture, and it is linked with mysticism; for us what is really important is not the goal we wish to attain, but the path we must travel to reach it.”

Compilation NL EN
11.05.2016

Film is fundamentally the choice of a viewpoint in space, toward that space. Film is recording and therefore fundamentally contemporary (one cannot record that which is gone, the past). The spectator always watches contemporary images (even when they have aged, they remain contemporary through their model). This disposition sees to it that those who love films become ‘contemporary’ with every film.

Compilation NL EN
30.03.2015

De bioscoop was zijn Amerika, de beelden volgden elkaar op als plechtige zevenmijlsstappen, of als het rennen van de honderd meter. Hij schoof van plek naar plek, van de ene naar de andere figuur. En steeds gebeurde dat in die ene juiste afstand. [...] Later begreep hij dat alles draaide rond een oxymoron: onbeweeglijk bewogen te worden.

Compilation NL EN
11.05.2016

Film is fundamentally the choice of a viewpoint in space, toward that space. Film is recording and therefore fundamentally contemporary (one cannot record that which is gone, the past). The spectator always watches contemporary images (even when they have aged, they remain contemporary through their model). This disposition sees to it that those who love films become ‘contemporary’ with every film.

Compilation NL EN
30.03.2015

De bioscoop was zijn Amerika, de beelden volgden elkaar op als plechtige zevenmijlsstappen, of als het rennen van de honderd meter. Hij schoof van plek naar plek, van de ene naar de andere figuur. En steeds gebeurde dat in die ene juiste afstand. [...] Later begreep hij dat alles draaide rond een oxymoron: onbeweeglijk bewogen te worden.