Films byTexts by 2002
Philippe Grandrieux, 2002, 102’

A young American arrives in the city of Sofia, where he falls in love with a prostitute named Melania. Seymour wants to possess her, but to do so he has to betray a friend. And so begins Seymour’s “new life”.


Jacques Nolot, 2002, 90’

In a heterosexual film theatre... A love story between the cashier, a fifty-year-old and the - much younger - projectionist... The cashier will seduce the fifty-year old man through the simplicity of the young projectionist...

Gus Van Sant, 2002, 103’

Two friends, both called Gerry, decide to go hiking in the American desert. After wandering off the beaten track they soon end up lost, leaving them no choice but to keep walking and try to find a way out.


Marine Hugonnier, 2002, 19’

“Hugonnier travelled to the Panjsher Valley to make a film investigating the historical agency of its landscape. Long described as an earthly paradise, the valley had been broached by neither Soviet nor Taliban forces.

Conversation NL
Nicole Brenez 2002
Vertaald door

Daar waren we naar op zoek: een verontrustende film, zeer verontrustend, zeer fragiel en levendig. Geen film als een boom, met een stam en takken, maar als een veld zonnebloemen, een grasveld met gras dat overal groeit. Daar situeert zich de grootste breuk: in de manier waarop de film werd geconcipieerd. Het opzet en de totstandkoming van de film werden gebaseerd op kwesties van intensiteit eerder dan psychologische relaties.

Nicolas Philibert, 2002, 104’

A documentary portrait of a one-room school in rural France, where the students (ranging in age from 4 to 11) are educated by a single dedicated teacher.


West of the Tracks
Wang Bing, 2002, 551’

West of the Tracks details the slow decline of Shenyang’s industrial Tiexi district, an area that was once a vibrant example of China’s socialist economy. Part I: Rust focuses on the daily lives and work routines of Chinese workers in three different financially troubled state-owned

Abbas Kiarostami, 2002, 91’

“For decades, classical film theory pondered on the appropriate metaphor to explain the screen: a window or a frame? Was the screen a window on the world, therefore reality captured, or, a frame, reality constructed, a painting and its frame?