or, if you were so inclined, spend the ENTIRE month (such as is even beyond my appetite) watching the travelogues of the ridiculously prolific willy mullens - visit every dutch city, and do enjoy the three hours of footage of world war I troops training!
that PV guy
joris ivens
bert haanstra
fons rademakers
frans zwartjes
johan van der keuken
barbara meter
peter delpeut
peter greenaway
alex van warmerdam
frans van de staak
adriaan ditvoorst
henri plaat
gerard rutten
jos stelling
maurits binger
louis h. chrispijn
theo frenkel
also, in the 30's a lot of german (and other) film directors ended up making films here, eg douglas sirk, richard oswald, ludwig berger, max ophüls, karel lamač, henry koster, kurt gerron...(plus wolfgang staudte a couple of decades later)
wtf, netherlands inventing a new genre of deformity porn ASMR (i am glasses lady that can't seem to keep her fingers out of his pants. looks like by the end, she's run off with them)
A man with two walking sticks can run a short stretch with much difficulty. A man with a developed torso but very thin legs is moving his toes.
Netherlands, eh? I guess now I have a reason to watch at least one of the Human Centipede movies. I initiated the CoMoNet month on 8/1 at 12.11 AM with Joris Ivens' Regen, 1929. Evocative like Vigo...
er, thanks lencho, i guess i missed that human centipede was dutch (i am being somewhat deceived by belgian titles trying to sneak into the como, anyone else having that filtering problem?) so far, my broad generalisation (to include body horror and bodies generally) is that dutch sensibility is pretty tactile, earthy....that particular light that reveals the shadowy crevices *drifts away in broad strokes sensuous reverie*
but also we must not forget who may have forgotten us! - mauries!
DEED UNDONE (Frans van de Staak, 1989) #CoMoNetherlands
Two couples, four characters portrayed by eight actors, plus some poems by Gerrit Kouwenaar — these are the elements of this gripping and imaginative film ... objective was a film "about people who want to get something done. I leave out the why as well as the results. What's left is the moment of endeavor." There's no story, just a number of sequences in which each character is acted by one of the two players. They walk a lot and quickly, heels clicking rhythmically through an impersonal quarter of Amsterdam. One never knows where they're going. They have difficulties in communicating. Writing is sometimes easier than talking: It's easier to leave a note on a table saying "you're it" than to say "I love you" face-to-face. Script is full of humor and irony — people bursting with purpose being distracted by a badly tied shoelace, or a couple exasperated beyond reason by each other's mannerisms.
the mailman had approached!
Last edited by niminy-piminy on Thu Aug 18, 2022 1:44 pm, edited 4 times in total.
De Rivier Velino (1910?), A Fate of the Sea (1910), Santa Lucia (1915?), Die Chernowska (1914), Teutoburgerwoud (1912?), De Dytique (1912), Rachat de l'Honneur (1913?), Het Grote Plateau van de Carnische Alpen (1912?), Una Tragedia al Cinematograph (1913), Al Cinematografo Guardata e Nn Toccata (1912), The Picture Idol (1912), At the HOur of Three (1912), Artheme Operateur (1914), Fior di Male (1915), Au Pays de Tenebres (1912), Alexandra (1914), Der Stern des Südens (1911), Les Enfants du Capitain Grant (1914), Erger dan de Dood (1912?), Sui Grandini del Trono (1913), Roman van de Zee (1910?), Stockholm (1912?), Das Abenteuer des Journalisten (1914), Kindertentoonsteling (1912?), Zenscina Zavtrasnego Dnja (1914), Waterlilies (1911), Gli Ultimi Giorni di Pompeï (1908), In de Pyreneeën (1913), De Oase van El Cantora (1913), La Vie et La Passion de N.S. Jezus Christ (1906-1907), Van Pau naar Cauterets (1910?), La Voix d'Or (1913), Loetschberg (1919), De Weg des Doods (1912), Picture Palace Piecans (1914), Warfare of the Flesh (1917)
and (besides all mentioned above) also The Signal Fire...
een telegram uit mexico - louis h. chrispijn (1914) #CoMoNetherlands
In the article 'Letters from afar', film historian Frank Kessler places A Telegram from Mexico within the political context of the day. Europe was on the eve of the First World War, and young men everywhere were being called upon to serve in the military. This drama portrays the uncertainty and powerlessness of the family that stayed behind, who waited for his letters and depended on newspaper articles.
mexico as proxy for the void
de dood van pierrot - theo frenkel (1920) #CoMoNetherlands
interesting little film about making a film, where clowns must die before they can be accepted....(whole bunch of metaphorical gestures about movies (every successfully captured image is dead) actors:roles (one must suicide the self for the mask) and love (nuff said) there in that 18 minutes)
the excitement of yesterday's frenkel not sustained, there's some nice direction, but some at best berserk slap-dash miss-match editing between longer shots and close-ups (is is intentional? i'm wondering, since it was so consistent throughout) and you really really feel those two hours. plus at some point after all the fun hypnotism stuff and hysterically amusing sudden turn to manic-depression + possibly serious constipation, it turns into one of those 'sexless saintly suffering' women movies that starts me foaming at the mouth. so NO, mr frenkel.
I found a stack of interesting CoMoNet titles on HMB... There's an Ophuls from '36 that is just amazing, Het Komedie Em Geld. There's a Master Of Ceremonies, different kinds of Brechtian interventions all throughout, and some bravura camera strategies so elaborately worked-out they play like special effects.
Paranoia/1967 looks interesting too. And there's a couple of Radamakers...
And Human Centipede First Sequence was a bit of a snooze, they didn't do much to really get down with any of the queasy premises it held out as selling points.
this was showing during some film festival near me once and i was excited (an ophuls! proper cinema! unheard of!) but we had all been sat in our seats for about 15 minutes when they announced they were cancelling the screening because they had neglected to ascertain whether there were any subtitles (there weren't, the fucking incompetent shitheads) so aside from this being one in a series of disappointments that resulted in me deciding i actually hated going to the cinema, there is also some unfortunate rage murmuring beneath this film in particular.
i guess i'll watch it (screening with side snack of distant fury and jabbing a sarcastic aha! at the sunken text that's finally tethered to the voices) and hopefully send that 1st memory to the neutral oblivion that everything ends up in anyway
ARIADNE (Barbara Meter, 2004) #CoMoNetherlands
DEPTH (Frans Dupont, 1933) #CoMoNetherlands
BOTSINGEN (Gerard Saan, 1934) #CoMoNetherlands
I AM AN OLD SMOKING, MOVING INDIAN MOVIE STAR (Henri Plaat, 1969) #CoMoNetherlands
THE CARDINAL (Henri Plaat, 1972) #CoMoNetherlands
SOUSLEVENT (Jan Ketelaars, 1979) #CoMoNetherlands
THIS TINY WORLD (Charles Huguenot Van Der Linden, 1972) #CoMoNetherlands
MAASTRICHT (Willy Mullens, 1920) #CoMoNetherlands
Dutch masters: Frans Zwartjes (Frank Scheffer, 2015, 15m) #CoMoNetherlands
A Fan (Frans Zwartjes, 1968, 6m) #CoMoNetherlands
The Case of the Spiral Staircase (Karin Wiertz, Jacques Verbeek, 1981, 3m) #CoMoNetherlands
The Eyecatcher AKA De blikvanger (Frederieke Jochems, 1988, 10m) #CoMoNetherlands
fashion in movement (jose teunissen, 1991) #CoMoNetherlands
yeah thanks greennui for this one a while ago! esp for the torturous delight of seeing a clip of the unavailable l'avarizia (1918) - francesca bertini, in trousers!
now, while browsing the EYE website, i read the bio of Paul de Mol and it says...
Paul de Mol is originally a visual artist, and worked in the mid-1960s with the Haarlem-based group Ateliers ‘63, of which Frans Zwartjes was also a member. As an artist, De Mol was interested in film, and in 1971 he enrolled at the Vrije Academie Psychopolis in The Hague, where he again worked with Frans Zwartjes, first as a student and later as a teacher.
His first films are typical examples of the ‘Hague School’, a group of students gathered around Zwartjes whose work was strongly influenced by Zwartjes’ films. These are films in which the ‘investigating’ is key.
due to my nescience, i was not aware Zwartjes was this influential (not just a solitaire artist but a trigger/mentor to the whole "school").
dilettante encyclopedia adds moreover...
In 1970, Frans Zwartjes started teaching at the Vrije Academie in The Hague where he became an influential mentor to an entire generation of artists such as Jan Ketelaars, Gijs Schneemann, Matthijs Blonk, George Schouten and Ruud Monster, who constituted the so-called ‘Haagse Psychopolis school’.
the other school mentioned in Paul de Mol bio is "Haarlem-based group Ateliers ‘63".
about this subject, the dilettante source of wisdom says the following...
De Ateliers (formerly Ateliers '63) is an independent art school located in Amsterdam. It was founded in Haarlem in 1963, among others by Ger Lataster, Mari Andriessen, Nic Jonk, Theo Mulder and Wessel Couzijn. This "group of established artists... agreed that the formative process of fine artists should be more individually directed than the learning of a trade or the studying of a science."
De Ateliers offers a postgraduate program, where young artists can work in their own workshops with accompanied by renowned artists and critics. Students are called 'participants'. They are regularly visited in their studios by the tutors and guests from The Netherlands and abroad for individual feedbacks.
After many years located in Haarlem, the institute moved to Amsterdam to the former building of the Rijksakademie at the Stadhouderskade in the Amsterdam city center.
Among the accompanying have been: Armando, Stanley Brouwn, Constant Nieuwenhuys, Jan Dibbets, Didier Vermeiren, Edgar Fernhout, Carel Visser, Ger van Elk and Willem de Rooij.
Among the participants of De Ateliers have been: Philip Akkerman, Keren Cytter, Marlene Dumas, Thomas Houseago, Rob Johannesma, Andrew Kerton, Axel en Helena van der Kraan, Joep van Lieshout, and Marc Ruygrok.
and (as far as i understand) besides of all of these, there was Nederlandse Filmacademie that was more Nouvelle Vague or New German Cinema conscious...
The 1960s saw the rise of a group of young filmmakers who had been trained at the Nederlandse Filmacademie which was founded in 1958. This new generation, led by Wim Verstappen, Pim de la Parra, Nikolai van der Heyde and Adriaan Ditvoorst, saw themselves as revolutionaries and wanted to give the staid film world a rude awakening. In this respect they were aligned with the Nouvelle Vague and the Neue Deutsche Film.
oh, a lot of things to explore during CoMo Netherlands 2.0
Edward Luyken studied at the Academie voor Beeldende Kunsten in Rotterdam, and is also a sculptor in addition to being a filmmaker. In the 1970s, he moved to Paris, where he made his first films.
Since 1987, when a number of his films were shown at the ‘Film International’ festival in Rotterdam, Luyken has made at least one film per year. These have been in the form of diary entries, which also depict his artistic work. Recurring themes are, in addition to his sculptures: travel, stones, canoes, his sons, and his wife Therèse Breuls, who died in 2003 after sixteen years of chronic disease.
Luyken has lived and worked in Paris, New York, Tokyo, and Rotterdam, but has now been based in Amsterdam for several decades.
the g b shaw play, so you know how much you're gonna enjoy it (and leslie howard is still a year away so nothing to live up to) but again, some nice touches by berger
eg here, the camera movement to include the stuffed croc when pa gets cunning
Although the focus of her work is on photography, Kölgen has also made a number of films. In her films, Kölgen focuses on the relationship between image and sound. Both are used as autonomous elements juxtaposed against each other, and the complexity of sound and image is shown in the layering of the images and the soundtrack. Examples of this method include Ricercar and Wende.
Sorry, I was first very busy and then on a needed vacation. Hope to be more active again soon, and try to add some more recent Dutch short films to mix
