Films byTexts by 2000
Yi Yi: A One and a Two...
Edward Yang, 2000, 173’

Each member of a family in Taipei asks hard questions about life’s meaning as they live through everyday quandaries.

In the Mood for Love
Kar-Wai Wong, 2000, 98’

Two neighbors form a strong bond after both suspect extramarital activities of their spouses. However, they agree to keep their bond platonic so as not to commit similar wrongs.


“The figure is the lover at work.”

Johan van der Keuken, 2000, 145’

In De grote vakantie Johan van der Keuken learns he only has a few years left to live after being diagnosed with a terminal illness. He and his wife Nosh decide to go on a long vacation to make a final film.


Kingdom of Shadows
Fiona Tan, 2000, 50’

“Thou shalt not make graven images nor worship them.” This (protestant) second commandment is the point of departure for Fiona Tan to scrutinize our complex thoughts and feeling towards the ceaseless stream of pictures, which fill life and memory.

Mysterious Object at Noon
Apichatpong Weerasethakul, 2000, 83’

Inspired by the Surrealist concept of the exquisite corpse game, the film crew travels from village to village in Thailand, asking various people they encounter to build upon a tale and advance its storyline in whatever way they like, each one picking up where the previous one left off.

Peter Watkins, 2000, 345’


“Some filmmakers say “this is my work and I want it to stay that way”. That is their right, and we respect that right. Those are the films we don’t buy, and those are the films we don’t transmit.”

Anne-Marie Miéville, 2000, 74’

“Dear Anne-Marie Miéville,

Your film Après la réconciliation stunned and delighted me.

It has elements of both the whip and the tightrope.

It tells a story without telling a story. Without the usual ingredients of a story, I mean.

Michael Haneke, 2000, 120’

“I look at it as productive frustration. Films that are entertainments give simple answers, but I think that’s ultimately more cynical, as it denies the viewer room to think.”

Michael Haneke


Paulo Rocha 2000
Een getuigenis opgetekend en bijeengebracht door
Vertaald door

Op een bepaalde manier hadden al die wonderbaarlijke camerabewegingen van Kenji Mizoguchi langs decors en acteurs iets te maken met het idee van de Japanse kalligrafie, een daad van levensbelang, zoals ademhaling of energie – energie is namelijk de hoeveelheid inkt op het penseel, waarna de ademhaling volgt, het inademen langzaam op gang komt en op het witte blad de wereld opnieuw geboren wordt. 

Virgin Stripped Bare by Her Bachelors
Hong Sang-soo, 2000, 126’

“Reiteration becomes reversal in Virgin Stripped Bare by Her Bachelors (2000), the most complicated instance of Hong’s doubling.

On the Occasion of Remembering the Turning Gate
Hong Sang-soo, 2000, 115’

“His work teems with Hong look-alikes, alter egos, and surrogates, most of them self-absorbed, obtuse, feckless, forever doing the wrong thing: insisting on paying a host for a home-cooked meal; crying out the name of another woman in the middle of sex; drunkenly demanding a blowjob from a long-a

Werckmeister’s Harmonies
Béla Tarr, Ágnes Hranitzky, 2000, 145’

“You are the sun. The sun doesn’t move, this is what it does. You are the Earth. The Earth is here for a start, and then the Earth moves around the sun. And now, we’ll have an explanation that simple folks like us can also understand, about immortality.

In Vanda’s Room
Pedro Costa, 2000, 170’

Pedro Costa’s longest and most challenging film is also the one in which he most fully discovers his present method (shooting beautifully composed tableaux without camera movement in digital video, with scripted dialogue) and subject matter (immigrants from Cape Verde and junkies, all nonprof

Compilation NL

“Maar is Mudar de vida niet, ondanks alle stoutmoedigheid, een bijna antimoderne film? De dialogen zijn een soort van parelsnoer die een ritme, een cadans eisen, geleid met harde hand ... De zee en de rivier, in hun tegenstellingen, laten geen overtolligheid of stijlfiguren toe, het drama komt voort uit het verleden, het heden is ‘ternauwernood’ een heropzoeken van mensen, van plaatsen en van oude gevoelens.”