Archive as a place to play

On the 10th of May, it’s the Master students of the Netherlands Film Academy that take their turn in creating an exhibition within the context of the EYE Research Lab. Their exhibition, Archive as a Place to Play, is the result of the work the students have done with Jyoti Mistry, a South-African filmmaker / artist / theorist, who has been invited to the Netherlands Film Academy as Artist in Residence. Below you find her ‘curatorial statement’ and the statements of all 10 students, present in the exhibition with films and installations. The exhibition lasts until 22 May.

The vast repository of images produced in the colonial histories of Indonesia, India and South Africa is historical testimony of ethnographic documentation of cultures that were foreign to the gaze of the coloniser. A century later investigating these images provides a liberating entry point to reassess how archive might operate further outside the bounds of its historical provenance.

In this Research Lab, Masters students from the Netherlands Film Academy worked with South-African Artist in Residence Jyoti Mistry to experiment in politically strategic ways with alternative narratives of histories, subjectivities and political experiences.

Writing back to history through films using the film archives, these projects are not simply about revisionist histories from the points of view of the subjects being observed but further aim to challenge the gaze regimes of these historically ethnographic images.

Each of the projects serves to suggest a contemporary relevance that invites personal reflection on a broader socio-cultural canvas. It is a way of exploring the film material as repository, as a place to play, where there is pleasure in the possibilities of meaning-making rather than in defining or finding a singular, definitive meaning in the material. It’s the pleasure of imagining how ideas are held together through filmic representations and images.

The archive is thus poignant inspiration for the release of cinematic imagination and narrative possibilities.

Jyoti Mistry

Artist in Residence

Netherlands Film Academy

EMILIO Bassail


(Mexico City) is a filmmaker and sound artist. His work revolves around the questions of memory and time. Constantly experimenting with different mediums and forms, his body of work comprises of radio pieces, video art, film, experimental literature, sound installations, illustration and music. Currently Emilio is developing research on the history of the Mexican desert as it relates to violence and the formation of memory.

His films have been showcased in international film festivals like the FICUNAM, DOCSDF, Kansk IFF Siberia, Metahouse Phom Penh, Cologne OFF, Bogota Shorts, and at art spaces like the MUAC (MX), MUJAM (MX), ADA (MX) and the Aferro Gallery in New Jersey.


How to avoid the aesthetics of folklore when speaking about the past? While I was growing up, the art agenda in my country was focused on what would later be called “the post-neo-mexicanisms”. I believe the name in itself is revealing of the complex layers of history and its conflicted meanings. In the 1990’s questions about national identity and memory had already been through a process of deconstruction, destruction, oblivion, reconstruction and revision. It was no surprise that we grew totally skeptical about concepts of identity and history. National identity was the incommensurable pathos of our everyday practice. Currently working with archival footage from colonial times brings me back these questions. What happened to my generation? Did we solve our conflicting identity? What was the result of all the historical discussions? What is the role of memory in this debate? I tried to assemble this piece as a nostalgic wink towards my generation and childhood friends. We tried so hard to reject the faux-folklore of our fathers that, in the end, we were left with a strange voice that involuntarily echoed with the discussions from the 1980´s. I used this footage to tell a coming-of- age story that would somehow pose a layered question about identity, colonialism, trans-generational trauma and an individual act of editing historical footage to explore memory and collective History.

Aron Birtalan


(1990, Budapest) is a Hungarian-born performer and researcher. With a background in music, video and critical theory, Áron creates work that spans through variegated mediums. Generated by a fascination for mythology, folklore and body movement, his works integrate methods and structures used in games, ceremonies and rites of passage. By stripping these oft-religious forms of their theatrical effects, Áron attempts to reveal the inner workings of liminal perception through a pre-modern discipline. Apart from his artistic practice, Áron is active as a guest-teacher and lecturer.

Patience (a game)

Patience (a game)is an experimental storytelling game that uses the framework of single player card games such as Solitaire. Further drawing from traditions in various forms of Cartomancy (card-based divination) as a way to create a chain of events – this work is inspired by an invitation to explore combinations and variations as each game is played.

With a diversity of framed stills selected from the archive material, a deck of cards is constructed in which the single player has to follow the instructions played through an audio guide. Different solitary playing forms create unique, reconstituted narratives which are inspired from the archival material and, fortune-telling traditions are evoked during the game.

A triangular relationship is formed between the spatial positioning of the cards on the table, the drawing order of the cards and the instructions. This relationenables infinite permutations of events to unfold. The meanings produced are associative and informed by the imagination of the player. This form allows a new and playful way of “recycling” the archival material which serves to liberate it from its inherently retrospective loci.

Kristina Daurova


was born in Krasnoyarsk (Russia, Siberia) in 1988.

She is a philologist (Russian and Polish literature and languages) in her initial educational training. After graduation she moved to Poland to write a scientific research project based on Polish Cinema. Kristina worked as a film programmer in documentary films; has been a performer and choreographer. She directed several independent short films and music videos and created dance spectacles and art performances. She is primarily concerned with a wordless language of telling stories. Kristina is building her research with a focus on gestures, details, bodily language and atmosphere.

EYE contact

Eye contact occurs when “two people look at each other’s eyes at the same time.”                                                                                         (Cambridge Dictionary)

Eye contact is a form of nonverbal communication – the most reliable, the most dangerous, the most honest and the most “unreadable” part of human connection.

There are hundred years between us – as a contemporary audience – and the eye contact made by the individuals in the archival material. We will never know each other. We will never meet one another. The individuals in the film no longer exist. And we will not exist one day, yet our images may well endure a hundred years from now. But when we look into each other’s eyes, we begin to live in the same reality. There is no more time and no more space – only our eye contact…contact made across time and space.

How do we see ourselves when they look at us?

Sophie Dixon


(UK) is a cross disciplinary artist. Her previous projects have been centered around historical events which have wrought irrevocable change in the lives of individuals.  Her work has examined the Sudetenland expulsions of 1946 and the rapid decline of the UK and French coal mining industries in the 1980’s.  Adopting a documentary style approach, she records individual stories set against a greater historical backdrop. The process of researching, collecting and re-interpreting is fundamental to her work and, in previous projects has manifested itself in the form of text-based artifacts, split screen films and installations. Her current research at the Netherland’s Film Academy is focused on the relationship between externalised information, memory and narrative. The questions of how externalised information may relate to memory, and the means by which such information may be recalled, are central to her current enquiry.

Untitled 2016

At the seashore, between the land of atoms and the sea of bits we are now facing the challenge of reconciling our dual citizenship in the physical and digital worlds.                                                        (Hiroshi Ishii, MIT Media Lab)

The starting point for this project is a deteriorated section of family; the footage, barely distinguishable, traces the ephemeral outline of a woman and child paddling at the shore. Film is an inherently fragile substance. As both substance and medium it also exists as a cultural artifact, an archive tightly bound to individual and collective memory. Reel upon reel, archives are now converting analogue to binary, in a bid to safeguard against the fragility and limitations of its own materiality. Such digitisation is not exclusive to film. For decades, major libraries and institutions have invested heavily in the conversion of analogue materials into digital form – digitisation both as a means of making materials more widely accessible, and as a means of preservation. Bits, binary data, however still require a physical resting place.

Abby Smith Rumsey, a historian previously associated with the Digital Preservation Programme at the Library of Congress, proposes in her book ‘When We Are No More’ – two major threats facing us in a digital age: the first, an amnesia-like condition brought on by the loss of information embodied in both digital and analogue media, and the second, a forgetting, forged from an inability to form lasting narratives amidst an abundance of information.

This short video presents a sketch of questioning what forgetting may mean in a digital age which promises to remember everything.



is a Brazilian filmmaker and cinematographer. His Master’s research deals with the materiality of the body. When I think about body, I think about its materiality – the flesh. I am proposing a separation of the body between ‘body and soul’ or ‘the flesh and the spirit’. What interests me about the flesh is its negative connotation linked to sexuality – always opposed and contrasted with rationality. It is a concept and binary of flesh and spirit inherited from a religious discourse connected to sin and a sort of sexual animal instinct – a primal drive – inside each of us.

What you are?

This intimate exposé draws from the archive images to create a story, simultaneously about the memory of the body and the experience of the body. The question posed speaks of an object: the body as material that has its inherent potential but also the possibilities to become something else.

A body that changes over time and assumes another form and identity.

A new life that signals a new feeling – the feeling of being a woman. A body that is based on sexuality; ultimately it is an experience which is momentary; it is just sex, it is just an illusion. A body that sees itself as being different or displaced from normal conventions. A body that is questioning, searching for answers to prove itself. A voice-over narrates these experiences which are projected onto the archival material. The images of a couple starting a new life with their children builds an atmosphere and an ambiguous relation when the text raises questions about the specificities of the body. What was it, what is it and what could it have been?

Gustavo Garnica


is a Colombian filmmaker and visual artist. His artistic research deals with the relationship between de-colonial critique and the cinematographic language, understanding the film medium as an intrinsic result of modernity and thus, as a mechanism that is historically associated with the hierarchical reproduction of western cultural values.

During his career, he has worked together with different indigenous groups of Latin America, mainly the Huichol people in Mexico and the Inga community from Colombia. His interest in working with these groups is to achieve an audiovisual representation that gets closer to their own lifestyle, philosophy and cosmo-vision. To this effect, he has developed a creative methodology in which oral tradition serves as a narrative basis for his films coupled with collective participation of the community which is integral to his production process.

Monumental fragments of our distance

These archival images hold singular power: they contain elements that communities have lost because of the accelerated and imposed rhythm of modern times which have superseded their traditional ways of living. In this piece, I offer an intervention on these elements that contrasts the monochromatic texture of the images, to single out the survival and resistance/resilience of these communities despite the cultural violence of colonization.

Since this collection of images constitutes such a significant testimony of these ancestral groups, I remove them from the virtual space of film and place them again into a psychical medium, as a reflection on how digital technologies are affecting both memory and its relationship to our material environment. The images are printed on negative film of 35mm; it is almost impossible to observe the details of the colorful intervention made on the surface. Instead the spectator must use a magnifying glass – a predecessor of the zoom lens, designed for filmmakers to get closer to those realities of which they are not a part – to individually magnify the images and the work requires an active participation with the images in order to understand their historical significance and contemporary meaning.

Louis Hothothot.Still006


is a multimedia artist who combines curating, visual art, and art criticism as part of his practice. His research is a concern with politics and identity. He comes from China and studied at the Central Academy of Fine Art. In 2012, he enrolled the Master of Fine Arts at the Dutch Art Institute. Presently he is studying at the Netherlands Film Academy. His work is regularly shown in galleries, dance festivals and film festivals. His work has screened at: Seattle International video dance festival, Cinedans, “Moving future” Dansmakers, “Using the Museum”. Heis works has exhibited in Van Abbe Museum, Beijing Yanhuang Art Museum. His curated exhibition “Urgent Care of Identity” included works by artists such as Jonas Staal and Heath Bunting, and was shown at A-Lab in Amsterdam in 2015. Louis Hothothot is also an art critic for Chinese magazines “Art & Design” and “Art World”, and international media such as “Financial Times Chinese”, RNW Media amongst others. Apart from art practice, he volunteers at Amnesty International and the We Are Here refugee corporation.

Letters To Magritte #1 FATHER

My long term research is about “the politics of identity.” The relationship between father and son and its allegorical political relations, whether in the past or the present. I draw on John Locke’s premise: “The Government commonly began in the Father”. Early colonizers evoked terms such “motherland” and “fatherland” in order to affirm a maternal or paternal relationship to the colonised power in order to maintain an emotional and infantilising relationship with their colonial subjects. The colony governors made a selfless, natural and objective mask which was/is “fathership”. Therefore non-biological fathers worked on changing colonized people’s identities and loyalty, as well as their sense of belonging. In the archives of colonial history, I discovered a video of a Dutch father in Indonesia with two sons. What is the relation between a white father and a dark skin son? How does a father look at his non-biological son? This was the premise for the film.

Wietske de Klerk


graduated in 2012 from the Academie St Joost in Breda. During her final year she experimented with visual research which was significant for her creative development. In her graduation film Continuüm, Wietske focused her research on the themes of film, acting and the architecture of location.
More specifically, architecture is used at a metaphorical level at which to interrogate the medium of film. The events take place in a house that is shown two ways: in all its filmic realism and also as a consciously staged setting through decor. This raises questions about how a human being will stage their own lives, and whether this staging is informed by reality. Or is it nothing more than an illusion that we choose for ourselves. After graduation Wietske held various assistant directorships, conducted film workshops and made several short films.
At present her Master’s research focuses on addressing the question how cinema can reveal the relationship between family rituals and spaces? Her research interests traverse: framing, the structure of storytelling and conceived and lived spaces.

Beneath the surface 

The film from the archival source A Holiday in Port Elizabeth contains scenes of a beach with long observational shots with people bathing, swimming and having a lovely time. These wide angle shots full of happiness are meant to establish a general atmosphere and feeling or “sense of feeling” for the place.  It fascinated me that so many hidden storylines are alive beneath the surface of this wide-angle view of the beach. These almost objective shots deny the little, nuanced or detailed storylines of a single more pointed moment. What is beneath the aesthetics of this surface? And what lies behind the large wide-angles of the observational shots? The notion of personal perception of place plays an important role in this archival research. All the individuals we see in these shots have had different experiences of that single moment and with reference to the specifics of this place. Everybody perceives this place differently because we (as the spectators) project our backgrounds onto that beach Reframing and manipulating the archival material made it possible to hone in on the individual dreams and desires of the people on this beach and enabled the search for the personal within the wider established panoramic shots.

Alex Perry


is a filmmaker from Manchester, UK. Beginning his video career in the music industry as a teenager, he went on to study Multimedia in Brighton before pursuing careers in cheffing and singwriting while always keeping a hand in community filmmaking. His most notable collaborations have been with young offenders and domestic violence survivors. His current research at the Netherlands Film Academy is focused on biographical shame from the perspective of both victim and perpetrator, including the nuances of language as a vehicle for, and obstacle against, examinations of historic violence.

Ons levenslied

Ons levenslied (Our Torch or even Our Tear Jerker), is the basis of my exploration of the polysemous quality of historic family narratives, with an emphasis on tragedy and private shame.

The original piece, a home movie from the Van den Bussche family, shot over 13 years, focuses on domestic activities and special events, documenting the family’s growth as they move between the Netherlands, Japan and Indonesia. Taken at face value, the images appear to show an idealised family history. But the very fact of their recording is evidence of a hierarchy of power and control. In choosing how to frame and what to omit, the “director” holds the key to a recorded past.

I am interested in the archive as a visual representation of memory triggers in a fragmentary dream of confession, the mechanics of which are borrowed from Catholic orthodoxy. As the imagery gossips of youth and optimism, the memories are weathered and deteriorated by experience. The ellipses in the dialogue represent not just a dereliction of recall but a pregnant void, a counter point to the corrupt fiction of the narrative, inviting the viewer to interrogate the reliability of our witness.



(The Netherlands, 1990) is a visual artist based in Amsterdam who graduated from the Photography Department of the Gerrit-Rietveld Academy in 2014. Working within an interdisciplinary field of film, photography and performative arts, her work embraces a sustained interest in the psychological aspects of the human mind. This derives from a necessity to come to an understanding of the world and the people in it, viewing them in terms of the ‘other’ and the ‘self’. Vlietstra investigates this dichotomy by positioning the camera between her subject and herself, creating a power play, a struggle in re-presentation of self and an unusual relationship with “self and other”. She attempts to transform the personal into the universal, dealing with the semantics of relationships, the origin of self, family, tragedy, addressing the human and the elementary.


‘’Por qué no me ves’’ is a film with estranged archetypal suggestions, translations and continuous re-presentations of one woman left alone. It portrays a broken character, who is fragmented and dissected by herself and others, over and over again. The archival footage functions as provocation to create an interchangeable and troubled persona. The piece longs to dismantle the traditional modes of understanding and reading cinematic reality. It challenges the roles of the director, the actor and the viewer simultaneously, by generating an anxiety in their contrived relation. It aspires to break with the importance of realism in cinema and its role to function as a re-construction of the ‘real’. The film consciously ignores the contract between the viewer and the viewer’s expectations of cinematic realism as it insists on simulating incoherencies and challenges assumptions of linearity. This film aims to alter cinematic conventions by challenging cinematic reality and its language through developing dissonance and evoking rupture within the construct itself by meditating interventions that insert disorder, repetition and transparency into its spoken words: ‘’The realism that you want is not the realism I will give you’’.


15 March Research Lab — Machine Room

Bram Bogaerts & Jesper Vos, 2015




In February 2015 we were contacted by EYE to start research on the archive’s collection of generative film art. EYE asked us to think about the value of computer-made code and how this could be dealt with in terms of preservation, access and reuse.

We came up with two questions:

  1. What is the relationship between film and computer code in a generative film context?
  2. What is the life span of computer code?

From our own experience as interaction designers we know that self-written softwares becomes incompatible and unusable after 2 years. The programming software that we often work with is regularly updated with new functionalities and improved capabilities. After one of these updates we often have to adjust a number of rules in the code so that the new version of this programming software can understand the code allowing the software to restart. Regarding computer generated art works – it is often the software that gives life to the work – if the software does not work then the installation does not work.For our research we concentrated on the software that Vegter used for his last film De Tijd.We found that the file GrowC.c was one of the main sketches Vegter made for De Tijd and we decided to focus on this code file in our research

It costed a lot of time and effort to start Vegter’s code. This s due to fast technological developments – old softwares has no support from new systems. Vegter didn’t take into account the fact that his code would not be able to work again after 10 years.

Next to researching the possibilities of archiving generatieve art we, as artists, also visualized our vision on this form or art.




In short we describe the project Machine Room as a reenactment of the computer code that Dutch film artist Bart Veger used to generate his film De Tijd. A wall-sized projection visualizes 45 computer processes being actuated by Vegter’s code through which the connection between film, code and computer becomes visible. The spacious interaction model enables the visitor to navigate through the visualizations and enter deeper layers of the active computer processes to also see how these relate to the specific software function in Vegter’s code.




The project in based on the idea that in generative art the computer is what the pencil is in traditional art, and the code like the paint that, together with the hand of the artists, determines what is being painted. The monitor is only the canvas whereon the artist paint though his computer. The operations being executed by the processor, the memory, the graphics card and the harddisk are like the arm strokes of the painter, only these are kept in the computer, invisible. Even the artist himself does not get insight in this.

Machine Room is a generative work that visualizes these “arm strokes” in real-time by continually requesting and visualizing the current activities of the various computer parts.

1 March Research Lab – Enjoy Your Entertainment! by Uva/HKU

On this evening Research Master students from the Media Studies department at the University of Amsterdam (UvA) collaborate with students from the University of the Arts Utrecht (HKU) to critically examine old and current practices of leisure and entertainment.

The evening starts with a cinematic experience that includes performances, glitches and interactive features reflecting on the current practices of leisure and entertainment. A Chevrolet commercial instructing us on ‘how to go places’ introduces tHow to go places - bloghe issues examined this evening, such as the commercialization of leisure and the regulation of our spare time practices. Cleverly juxtaposing old and new practices of leisure and entertainment, the first remix video On the Mediation of Leisure produced by students from the University of Amsterdam will further reflect on these current practices of the regulation and mediation of entertainment and raises the question where we might still escape these pre-determined forms of leisure.

As entertainment these days cannot do without some form of interactivity, the audience will be called upon to be involved in determining the next screening. A performance titled Comments for the Bored will simulate an online forum to reflect on issues of boredom. What constitutes boredom and what still makes us feel entertained today? Why do we desperately seek to avoid boredom and how we do escape it?

After this small intermezzo another remix video composed of archive material will be screened that reflects on the blurring boundaries between work and play. Through its accelerating pace it conveys the argument that even our leisure practices, as excessive and dizzying as they may be, are ultimately in the service of labour: to regenerate us for another day of work. A reading of a metaphorical tale by a Chinese philosopher that stresses the value of being completely useless will invite you to reflect further on this issue. In our current society where work and the production of value have shifted away from traditional modes of labour and standard work hours, into 24/7 online profiles and value-generating leisure activities – how and where can we still be completely ‘worthless’?

poster Enjoy Your EntertainmentAfter this cinematic event, we will move to the exposition space where installations by the students from the HKU addressing similar topics can be explored. A living room setting, but not quite the same, asks just how far we are willing go for some entertainment, reflecting the drastic transformation of leisure and relaxation in the age of accelerating technological innovation. Inviting visitors to make creative shadow images with their bodies while other visitors may document the creations, the installation Shadow Play explores the boundaries between rules and freedom, creativity and social behaviour, and public sharing and privacy. Lastly, the long awaited installation The Entertainment Booth plays with the power of anticipation: what’s there to see inside, remains a secret. You will need to find out for yourself.

8 DECEMBER – The Scream-Researchlab KABK + Il grido

Weronika Jonak
The Raven, 1′

Books and reality and art are the same kind of thing for me” – Vincent van Gogh in a letter to his brother, February 1883
Thou shalt write thy own life” – the first of Kristiania bohemian circle’s “9 commandments”

A piece of art is born in an artist’s mind, where he himself sets the boundaries between the
real and imaginary. In this reflection lies the source of my short animated movie – „The
Raven”. Afterwards, I would like to present you the excerpt from Akira Kurosawa’s „Dreams”
in which an art student meets van Gogh inside of his paintings. This movie shows a very
personal approach of one great artist to another, as it is based on dreams Kurosawa claims
to have had repeatedly.




Rescripting my memories – Samuel Otte (4′)

Rescripting my memories is about my memories about my mother. I remember her as a dark, depressed woman, but maybe this is not the whole truth. Anyhow, I don’t want it to be the whole truth, so I decided to rescript my memories.
Some years ago my father died and my brother found some old super-8 material my father shot when I was a child, the time I had these experiences that consolidated into my memories. I searched this material for shots of my mother and contextualised them by found footage from the
Eye archive, in order to create new memories to add to the existing memories (and maybe even replace them when I am ready for it).
My first inspiration for this film is this painting of Edward Munch ‘The dance of life’. In this painting (as in many of his paintings) Munch shows three women. The white, distant, virgin, pure one, from the sea. In the middle the red one, the eros, the woman that makes contact, that touches, that is ‘really there’. At the right you see the dark, needing, depressed, dying one.
Three of the four chapters in my film are about these three types of women.

My second inspiration is the work of Barbara Meter. We will show her film Ariadne after my film. A film about a woman of who we won’t see her face, only her restless feelings through turning wheels and wires.





Immerge by Alessandra Sampalean (4′)

Imagine yourself discovering the perfect place where every detail is idealistic. However, have you ever wonder how humans would react to perfection? That ideal place is an up side down reality and maybe people would start acting insane, delusional.

The idea started from my lack of feelings when seeing great landscape paintings. I’ve started wondering what would happen if I would spend hours in front of a landscape (painting) till I understand it. Immerge is a visualization of this experiment. The film is created from found footages from the Eye archive.

The painting that inspired me most is The Scream by Edvard Munch and the audio was created inspired by feelings of insanity, anxiety and scary.


1 December – Double Bill: Takashi Ito and Funeral Parade of Roses


Takashi Ito: Moving Still

“Film is capable of presenting unrealistic world as a vivid reality and creating a strange space peculiar to the media. My major intention is to change the ordinary every day life scenes and draw the audience (myself) into a vortex of supernatural illusion by exercising the magic of films.” (Takashi Ito)

Takashi Ito

Experimental filmmaker Takashi Ito is considered one of the major figures in the history of Japanese experimental film. Studying under Toshio Matsumoto at Kyushu University of Art and Design in Fukuoka, Ito’s consistent output over the past four decades has left an indelible mark in Japanese experimental film. He was the special effects artist for Sogo Ishii’s Crazy Family (Gyakufunsha kazoku, 1983), a film co-produced by the Art Theatre Guild of Japan, a company for which he worked in the early 1980s (see below on Funeral Parade of Roses for more on ATG). He has been a subject of retrospectives at International Short Film Festival Oberhausen, where he won the Main Prize in 1995 for Zone (screening as part of the programme), and Flatpack Film Festival. He is professor at Kyoto University of Art and Design and teaches at Image Forum.

Programme at h 19.15

After opening with his legendary work Spacy (1981), the programme is roughly divided into three sections: the first dealing with gender and identity; the second engaging with horror within confines of rooms; and, finally, a film by his mentor Toshio Matsumoto that went onto become a major inspiration for the artistic practice of Takashi Ito.



Arguably the most widely seen film in the history of Japanese experimental film, Spacy (1981) is considered a classic of the country’s output in the particular tradition of filmmaking. A flipbook-style arrangement of still photographs transforms into a riveting roller-coaster display. Featuring in the documentary Free Radicals: The History of Experimental Film (2012), Spacy is in the collection of Centre Pompidou and is distributed by Image Forum (Tokyo) and Light Cone (Paris).

See Mark Toscano’s video document ‘Takashi Ito flipping through original photos from his 1981 film Spacy’, filmed at International Film Festival Oberhausen, May 2015:


Apparatus M (1996)

While Gi Sōchi M means ‘apparaus M’ written down, phonteically it can also be interpreted as ‘masquerade,’ referring to the cross-dressed protagonist. The work is an artistic collaboration with Japanese ‘appropriation artist’ Yasumasa Morimura who is seen dressed up as Marilyn Monroe in the Hollywood classic The Seven Year Itch (Billy Wilder, 1955) and was made for Morimura’s exhibition in Yokohama Museum of Art. Morimura is represented by Luhring Augustine Gallery and his work is held in the collections of Whitney Museum of American Art, San Francisco Museum of Modern Art, Museum of Contemporary Art, Chicago and Museum of Contemporary Art, Los Angeles.



A Silent Day (Shizukana ichinichi, 2002)

A reworking for his 1999 work A Silent Day (Shizukana ichinichi), the 2002 version of A Silent Day is slightly longer and incorporates a metatextual layer whereby the protagonist in the film is making the film A Silent Day. Featuring the young actresses Megumi Kubo and Monno Kazue with whom Ito worked on many occasions in the late 90s and early 2000s. While the film is the most evocative of narrative cinema within the programme, it still features many tropes of experimental film honed by Ito over the years.

“I want[ed] to express my recent theme, that is, melting of fiction and reality and ambiguities of the world we live in” (Takashi Ito)


Thunder (1982)

Incorporating some characteristics of Spacy, Ito’s film Thunder is a horror-inflicted study of presence in a room. Seemingly inspired by Toshio Matsumoto’s Space Projection Ako (1970) –a multi-projection environment featuring a young girl and her gestures in different projections– Ito’s film features a young girl that appears to haunt the space. “We can think of this film as made based on the unified scheme produced by layering together a number of axes of semiotic systems. Because the frame is the basic unit and the film composed by designing an accumulation of symbols representing reactions to sight and programming them into the time of the film, we can call it a kind of film-as-game.” (Shiroyasu Suzuki)


See a documentation of Space Projection Ako (1970):


Zone (1995)

Winner of the Main Prize at International Short Film Festival Oberhausen, Zone is a semi-autobiographical exploration of space. “A film about a man without a face. His arms and legs bound with ropes, a disabled man is still without even a quiver in a white room. This man, enwrapped in wild delusions, is also a reconstruction of myself. A series of unusual scenes in this room that expresses what lies inside me. I tried to create a connection between memories, nightmares and violent images.” (Takashi Ito)


Drill (1983)

Recalling Michael Snow’s Back and Forth (1969) with its use of horizontal pans, Drill is once again a study of a company dormitory in which the filmmaker was living. “The filming of the entrance to the company dormitory in which the film-maker was living. Centering the film on one pillar, he warps the spaces to the left and right and creates an unstable space similar to painting that employs anamorphosis. Made as were Spacy and Box with a large number of photographs, the film ends with a violent movement, but is poetic for this.” (Takashi Nakajima)

Watch: Michael Snow’s Back and Forth


Atman (Toshio Matsumoto) (1975)

A film that cast a huge influence on Takashi Ito, Atman is a work by Japanese experimental filmmaker Toshio Matsumoto. See an extract here:


Watch Eriko Sonoda’s Garden/ing (2007), which employs a similar technique to Takashi Ito’s works: Image Forum alumni Nasuka Saito also employed the technique in her film A Labyrinth of Residence (2008).

Read ‘The Ecstasy of Auto-machines’ by Norio Nishiima and ‘The Wonder of Takashi Ito’s Land’ by Nobuhiro Kawanaka

Read ‘Ghost of Time and Light: The Experimental Cinema of Ito Takashi’, a report on the 2015 retrospective of Takashi Ito films by Yaron Dahan for MUBI

Download the International Film Festival Oberhausen 2015 catalogue featuring an essay ‘Uncanny, sensual and with subtle love’ by Nakazawa Aki and programme notes on Takashi Ito:

Programme at h 21. 15

Funeral Parade of Roses
Funeral Parade of Roses is one of the most energetic and innovative feature films to come out of Japan. Featuring many transgender actresses, the film is set in the emerging queer subculture in Shinjuku 2-chome, Tokyo, and is a rare example of queer filmmaking in the country. Following the queer icon Peter (who also can be seen in Akira Kurosawa’s Ran, which also screens in Mubii Japan at Eye), the film walks us throimage1-fporugh the edgy activities of youth in 1960s Tokyo: house parties; drug-infused underground screenings; political protests; and porn shoots. Blending documentary and fiction in a way that make both indistinguishable from the other, Matsumoto has described the film’s structure and form to be similar to dropping a mirror on the ground and picking up the pieces. It also seamlessly interweaves styles often found in video art, television shows, performance art, manga comics and experimental film –including a memorable reference to Monas Jekas (or, Jonas Mekas). Brimming with dynamic verve, Funeral Parade is a must-see for all interested in queer culture and experimental film!

Read on Funeral Parade of Roses
‘Shinjuku as site: Funeral Parade of Roses and Diary of a Shinjuku Thief’ by Taro Nettleton. Screen, 2014, vol. 55, no. 1, pp. 5-28 (available in Eye Film Institute Library and Openbare Bibliotheek Amsterdam).

‘Neo-documentarism’ in Funeral Parade of Roses: the new realism of Matsumoto Toshio’ by Mika Ko. Screen, 2011, vol. 52, no. 3, pp. 376-390
(available in Eye Film Institute Library and Openbare Bibliotheek Amsterdam).


ATGThe Art Theatre Guild of Japan (ATG) was an independent organisation set up in 1961 to show local and international arthouse films in Japan. Launching with ten cinemas across 

image2-atgthe country in 1962, a committee of critics and filmmakers (including Toshio Matsumoto) selected classics (Citizen Kane, Battleship Potemkin) and world cinema titles (Rocha, Wajda, Godard, Ray, Cassavetes, etc). In 1967, they began co-producing local low-budget independent films (“10 million yen films”), many of which went onto become representative titles of Japanese ‘new wave’ cinema. Supporting filmmakers such as Nagisa Oshima, Shohei Imamura, Kiju Yoshida, Masahiro Shinoda, Susumu Hani and Shuji Terayama, ATG played a key role in distributing their works at international film festivals.

ATG co-funded Toshio Matsumoto’s feature-length debut Funeral Parade of Roses (1969) and showed the film in its theatres. They also supported the making of his following feature-length film Pandemonium (Shura, 1971).

Read on ATG here:
‘The Anticipation of Freedom: Art Theatre Guild and Japanese Independent Cinema’ by Roland Domenig

Toshio Matsumoto: Japanese filmmaker Toshio Matsumoto is considered a pioneer in film theory, video art, expanded cinema and film installations. A leading cultural voice since the 1950s, his writing on world cinema, underground film and the interstices between avant-garde and documentary were considered key texts by cinephiles. His first film was Silver Wheel (Ginrin, 1955) a PR documentary on bicycles made in collaboration with members of Japan’s avant-garde art collective Jikken Kobo (Experimental Workshop). His triple-screen projection For the Damaged Right Eye (1968) is widely recognised as one of the first works of expanded cinema in Japan and Magnetic Scramble, made the same year, is considered an early example of Japanese video art. He was an editor of key film journals Kiroku Eiga (Documentary Film), Eiga Hyoron (Film Criticism) and Kikan Firumu (Quarterly Film). His shorts have recently been a subject of retrospectives at Oberhausen International Short Film Festival and Harvard Film Archive. His work was shown in Tokyo 1955-1970 exhibition at MoMA and is currently on view at ‘EY Exhibition: World Goes Pop’ at Tate Modern.


Recommended works by Toshio Matsumoto:

Ecstasis (1969) features in Funeral Parade of Roses

For the Damaged Right Eye (1968) is a triple-projection work featuring the subcultures of Tokyo from which he also drew for Funeral Parade of Roses

Read on Toshio Matsumoto
Cinema of Actuality: Japanese Avant-Garde Filmmaking in the Season of Image Politics by Yuriko Furuhata, 2013, Duke University Press.
(available in Eye Film Institute Library)

Zero Jigen:
Zero Jigen (1963-1972), who make an appearance in Funeral Parade of Roses, were a performance art group that staged their naked group actions on the streets (and occasionally stages) of Tokyo and Nagoya. At the time, Zero Jigen were the most visible performance art group in Japan as they regularly featured on popular magazines. Nevertheless, they were also a leading voice in underground arts and appear in many experimental and documentary films in the 1960s. They also featured in the ‘Tokyo 1955-1970’ exhibition at MoMA.image4-zerojigen

Read on Zero Jigen
‘Sound in Two Dimensions: Graphic Scenario of Performances by Zero Jigen in the 1960s’ by Raiji Kuroda, POST, 2015.

‘The Rituals of “Zero Jigen” in Urban Space’ by Raiji Kuroda, R, 2003, no. 2, pp. 32-37

Click to access file-52-2-e-file-2.pdf

‘Filmed Rituals: Zero Jigen Incarnates Onscreen’ by Julian Ross, Desistfilm, 2012.

Programs curated and presented by Julian Ross.  He is a Leverhulme postdoctoral research fellow at the University of Westminster and recently completed his PhD on Japanese expanded cinema.


17 November – Eye on Art: Tomoko Mukaiyama

h 17.00    Water Children
h 19.30    Multus #2: Dance on Piano

Tomoko Mukaiyama is a Dutch-Japanese pianist, performer and visual artist based in Amsterdam. She pushes on the boundaries of the classical music world. As a pianist and visual artist she has a fascination for unconventional contemporary art projects and plays with the conventions around her instrument, her profession and performance in a broader sense. She uses her experience as a concert pianist to give a new dimension to the concert space, as well as to performance and installation art.



Tomoko Mukaiyama (Photo: Philip Mechanicus)


As a multimodal artist Tomoko develops art installations and performing arts projects that combine music with contemporary dance, fashion and visual art. The core of her work is communicating with the audience. She creates a wide variety of projects in different kinds of spaces, always striving to present her art projects in a specific and communicative form, moving between performing in more prestigious venues and creating musical experiences for the intimacy of one.

Tomoko’s installation performance wasted (2009), made of some 12.000 silk dresses, challenged the transience of the feminine virtue of fertility. A piano concert with multi media reached out to audiences to participate or engage with this installation through a personal ritual.

The work successfully toured five locations all over the world, and led to a documentary film called Water Children (2011). The documentary is an ode to womanhood and the body.



At h 17.00 Water Children

(The Netherlands, 2011, 75′, English subtitles)

Filmmaker Aliona van der Horst followed the trail of the unconventional Dutch-Japanese pianist and artist Tomoko Mukaiyama who made a huge work of art on the theme of womanhood and fertility. She created a cathedral-like space out of twelve thousand white silk dresses in which visitors, as in a ritual, roamed around and fell silent. And where people confessed intimate details about children who were or were not born, about sexuality and life-choices. This resulted in a majestic epic about motherhood, miscarriages and menopause. In a visual and poetic way, the film penetrates into what is probably still one of the greatest of taboos, menstruation, and, as a consequence, touches upon universal themes around life and death.

Some aspects of life are hard to express in words. To touch the deep layers of feelings connected to issues of motherhood and loss and experiences of procreation and the sense of failure it can entail, you need to create something like music, a labyrinth or a ritual. Something that isn’t only about speaking meaning, but explores other ways to express the deep and intense experiences in our lives. In this documentary, artist and pianist Tomoko Mukaiyama asks a group of Japanese women to participate in her art project exploring and meditating on the meaning of their monthly blood and the rhythm of their bodies. The women, sometimes for the first time in their lives, try to give words to their experiences, resulting in powerful testimonies about the connection between life and death, mortality and the power of life. Gradually, and unexpectedly, this film evolves into a collaboration between the artist and me. Why did I chose to make a film about such a sensitive and hard to grasp subject as “female fertility”? I am challenged by the Tomoko who asks me to participate in her project; confronting my own strong and mixed feelings towards being a woman without children of my own. Our conversation takes place in music and images. This film is about how deeply art can be connected to life and how necessary it it is to express what we often cannot speak about.




At h 19.30 Multus #2: Dance on Piano

Multus #2: Dance on Piano is a theatrical concert with video. Tomoko presents together with Gerard Bouwhuis an intriguing program for two pianos surrounded by a forest of video screens. Tomoko created this installation using footage by Dutch filmmaker J.C. Moll. Starting in the ’20s he focused his work on time-lapse photography and recorded flourishing plants in his conservatory. The video installation shows black and white images of blossoming flowers and growing crystals, and was made in collaboration with the EYE filmmuseum.

In this setting Tomoko and Gerard play an arrangement of Le Sacre du Printemps, the groundbreaking work by Igor Stravinsky in which the ghosts of an untamed prehistoric Russia are evoked. They also perform two more restrained pieces, Experiences no. 1 by John Cage and Socrate, drame symphonique en 3 parties by Erik Satie in an arrangement for two pianos by John Cage. The various rhythms of film and music draw the audience in and sometimes accompany each other, and sometimes deliberately not.



This programme will be dedicated to Dutch filmmaker and photographer Jaap Pieters, who shoots his films only in Super 8. Jaap Pieters has been making short films since the early 1990s. These usually consist of a single shot and have the duration of a Super8 cassette, which means that they are about three and a half to four minutes long.
He films  small events and portraits of everyday life. His first films where often shot from and around his apartment in Amsterdam which gave him the nickname ‘the EYE of Amsterdam’. But in the last couple of years Jaap has picked up his camera during his travels and filmed in places where life brought him.

This programme will start with a selection of Jaap Pieters most recent work. Projected in its orginal format by the artist in person. Followed by a live performance of the jazz drummer and percussionist Han Bennink. And the evening ends with Barabara den Uyl’s documentary The Universe of Jaap Pieters.


taxi martina
Belfast Boys/Ulster Boys
Meticulous observation of traditional marking of territory around Sandy Row in Belfast.
(Jaap Pieters, 2008, Netherlands, Super 8, 7 min.)

Schweizer Dachreinigung
Observation of thorough cleaning as only the Swiss seem capable of. Beautiful lines and light determine the images while the church clock marks time’s passing.
(Jaap Pieters, 2009, Netherlands, Super 8, 3 min.)

A large digger on a strip of land separates sand from roots. The orange arm contrasts with the green surroundings, the world behind the camera visible in the…
(Jaap Pieters, 2008, Netherlands, Super 8, 7 min.)

Paris Meltdown
Diagonal composition of melting ice on a Paris roof. Sunlight plays across the glistening surface, in the water drops and the camera’s lens.
(Jaap Pieters, 2013, Netherlands, Super 8, 3 min.)

Queen St. W.
Still life of a complex street image from Toronto becomes an extremely detailed, ‘grainfest’ down to the lightest and darkest areas of the shot.
(Jaap Pieters, 2011, Netherlands, Super 8, 3 min.)


Han Bennink is a Dutch jazz drummer and percussionist. Though perhaps best known as one of the pivotal figures in early European free jazz and free improvisation, Bennink has worked in essentially every school of jazz, and is described by critic Chris Kelsey as “one of the unfortunately rare musicians whose abilities and interests span jazz’s entire spectrum.”



The Universe of Jaap Pieters
Universum van Jaap Pieters. Charming portrait of Jaap Pieters, lover of life among Super8 filmmakers, who says he lives in a world different to the one the world is in. His films reveal a fascination for society’s rough edges and the beauty of existence. He also takes a lot of photos, mostly in his own home, where time moves at its slowest.
(Barbara den Uyl, 2015, Netherlands, DCP, 47 min.)


A recent interview with Jaap Pieters by Tirza Mol (student at the UAntwerpen) and Mark-Paul Meyer (senior curator at the EYE filmmuseum):
Oeverloosheid en de bevrijdende beperking
(the interview is in Dutch only)

Short film on Jaap Pieters:

Link to the experimentele film in the Netherlands website to see or read more on Jaap Pieters:

An interview with Jaap Pieters and Simona Monizza (EYE experimental film curator) about last year’s film programme in EYE, but also on other facets…


Han Bennink and Jaap Pieters in EYE:


23 June, Janica Draisma: Into the Light

This evening celebrates the launch of Janica Draisma’s new book and DVD Into the Light, a visual compendium of Draisma’s work compiled by the artist herself. Into the Light is a personal account that sheds light on several of her films and projects, reflecting her development as filmmaker, photographer and artist, the themes that are characteristic of her work and the people who inspired her.

Draisma describes her films as ‘cinematographic choreographies’ or ‘visual poems’. Especially the early 16mm films made at the Rietveld Academy are studies in choreography for camera. They are composed of body poses and movements symbolizing and expressing an emotional thrust, with an underlying narrative line to back them up. They are films without dialogue, the music is the motor.
Janica her short fiction films express a very personal universe and are characterized by a strong visual language, often telling the story without any spoken dialogues.

EYE has recently restored a number of Draisma’s films from its collection.


1. Bakbeesten Ballade  002
De Bakbeestenballade / The Ballad of the Monstrous (1987, DCP, 1min, EYE archive)
Short animation film in which a dancer is beset by a dragon. In avoiding the huge monster’s mouth, she changes into a little monster.


Dans binnen kader / Dance Within Frame (1988, DCP, 1min, EYE archive)
Short animation film in which a male and female dancer move in front of and behind a square frame using stop-motion.


3. Table Kick Piece 002
Table Kick Piece (1988, DCP, 1min, EYE archive)


Research (1988, DCP, 1min, EYE archive)
Short animation using stop-motion, in which a female dancer dances against the background of a white wall and a painting.


Skipping’ sore (1990, DCP, 2min, EYE archive)
Short animation using stop-motion, in which a male and female dancer are able to disappear in a blue box.


6. On Pointes & Boots 004
On Pointes & Boots (1990, DCP, 1min, EYE archive)
Short animation using stop-motion, in which a dancer dances in a white space until the word STOP appears on the screen.


The Blight, Ah (1991, DCP, 4min, EYE archive)
Ablaze (1991, DCP, 1min, EYE archive)


La Balayeuse (1991, DCP, 4min, EYE archive)
Short animated dance film, the first from a series about the street-sweeper Bala, is set in Paris where Bala meets a spider, a street-sweeper and a green dancer.


8. Bala II 007
Bala II (1991, DCP, 10min, EYE archive)
Short dance film with animation elements, commissioned by the 1993 Spring Dance Festival. Part two of a series about the dancing street-sweeper Bala, who rises from the sea and ends up in Holland.


10. Sonata do Mar 004
Sonata do mar (1991, 35mm, 5min)
Computer animation inspired by the poem With not-quite truth by Czeslaw Milosz. Three perform a virtual choreography on the sea. They dance on the water without being limited by gravity, physical restrictions, time or space. They are timeless and eternal. Developed in collaboration with Albert Jan van der Stel, using the computerprogram Life Forms.


11. The Wondrous 004
The Wondrous (1991, digital file, 10min)
Intimate and poetic portrait of mentally handicapped, in which movement and body language reveals their hidden universe to us, developed in collaboration with visual artist Berend Strik.


12. Over Mijn Lippen 002
Over mijn lippen / Crossing My Lips (1991, DCP, 14min)
A musical documentary with and about people who stutter, giving us insight in their unusual way of speaking.

The pilot of Draisma’s most recent production, The Secret Room, will also be screened.


26 May, Magnify – Magnifying: Researchlab Rietveld Academy, VAV – Dept of Moving Image

Insights – installation by Martina Gudmundson – ongoing

The ‘Insights’ are positioned in sites of the hallway at the EYE Film Institute. These objects are making use of the oldest way to project an image – that of the camera obscura. Here the viewer may have a parallel cinematic experience – live and in real time.




Overflow – Performance by Marilou Stive and Mathilde Renault – 10’

This performance aims to wonder about reality and our daily rituals. How the fear of missing out interferes in our lives and social behaviour.



Mister and Misses Huis – Noé Cottencin – 4’

The story is simple: A couple decides to go on a vacation and while they look at their house in the distance, they remember the last time they left together.
In their time of wonder, Mr. and Mrs. Huis take some distance from the story. They get detached from us and the focus is given on the other characters.
” Mister and Misses Huis ” is a story written from archival documents present on the OpenBeelden. They are here taken as a base for a narration, a journey at the sea, or at the swimming pool when it’s too cold, with appearance of fashion women in the streets of Amsterdam or bathing suits men on the shore of january.




The Absolute Truth – Yasmina Ghalmi Mews – 3’

How would you react if you opened an envelope with the absolute truth in it? Is there such a thing as the absolute truth? Those questions stroke me while I was reading “The Illicit happiness of Other People” by Manu Joseph. The original story ends with a farmer who opens an envelope that contains the absolute truth and he begins to laugh hysterically. At the end, the envelope and its content have been passed around the whole world and everyone laughs about the highly anticipated absolute truth.
To me, finding out the absolute truth would be an absurd experience with the only logical reaction being a hysterical laugh.
This animation is my own interpretation of the two before-mentioned questions, inspired by this passage from the book. It made me think of those moments when we are alone and thinking about these important metaphysical questions.
That same kind of atmosphere that Edward Hopper always captures in his paintings. That feeling of isolation and transcendence is what I am trying to transmit with this animation — by zooming in from the universe and ending with something tangible or relatable like the hand of a human being.




double F for Final Fantasy – Alina Ozerova – 7’

The film is re-interpreting a touristic voyage of relatives and friends who got the permission to reach the outer folds of Iron Curtain. The 8mm camera they brought along was documenting both intimate and typical moments of the tour: street views, swimming in the lake, and incredible amount of Soviet monuments on the way.
35 years after that trip original film footage is digitized and parts of it are lost due to the time damage, not sharp focus of the original lens or digital correction side-effects. Coming from a country with a long history of repressive forgetfulness, now I might need to practice oblivion as a part of a new identity formation, as a way to get forward. This results in an experimental essay adapting touristic posters claims to highlight the unreflected episodes of the past and make a link between private history and ‘here and now’.

F for final



Hulleman – Berber Humalda – 5’

The work “Hulleman” is inspired by unrecognizable microscopic images and how these images create a world on its own. “Hulleman” is a journey that travels over a surface and explores the passing of time, alienation and the human body.




How To Dress For The End Of The World – Raluca Tudorache – 6’

The work represents a metatheatrical character, Electric Jesus, paraphrased by The Holy Spirit and accompanied by The Ephemerals, who confronts and asks for a closer look at the perpetual mutilation and recycling of beliefs in our postmodern/ postmortem society.
A world in decay is one where meaning is shifting absurdly, almost grotesquely, before the final exit into nothingness. We have to dance with the nothing, so little less conversation and little more action, please!

End of world



Wandering – Luciënne Venner – 7’

”Wandering’’ is a Short film shot in real time. It takes the viewer on journey to hit the mind of the main character. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that never took place.




Fatherland – Baha Görkem Yalim – 6’

Right after the military coup was declared as finished, in the beginning of the 80’s, my grandfather got assassinated. Moving from what is left from him brings the physical and non-physical aspects to light. Using the glasses he was wearing at the time of the shooting I am trying to reconstruct a father figure. I am building a bridge from this reconstruction to self-perceiving of politics, of one’s country and one’s identity. Fatherland is a wondering about ancestrality and dislocated self.




Skinship – performance by Anna Dorota Radzimirska, Yulia Ratman and Arta Balina

The experience of the lost language of touch through the lens of cinema. The play between physical presence and live-filmed image become holistic.

19 May, Re-action in F(ilm), Researchlab Master Photography AKV|StJoost

Point of departure of this evening is the work of Noud Heerkens. Heerkens has contributed greatly over the years to the development of Dutch (experimental) film with his works in different genres.

Heerkens is a tutor at the master photography. This year he used some of his films in a workshop to discuss artistic points of departure and cinematic principles with the students. These were the inspiration for the works the students made as a reaction or comment.


Blank_Sheets_Still Blank_Sheets_Still1

Blank Sheets, 5 min 2015

Simone Engelen, Jesse Bom and technical direction Bart Verhoeven

Simone Engelen and Jesse Boom contribute the short film Blank Sheets to this evening. The film was inspired by The Last Conversation (2009) by Noud Heerkens.

Blank Sheets shows the turning point in a relationship, when dreams come to a stand still and reality shows itself in all its imperfections. In this film different cameras create their own images simultaneously. The images are shown as a series, the viewer constructs his own story.


Screen Shot 2015-05-01 at 19.48.40 Screen Shot 2015-05-01 at 19.54.20

Le Flaneur, 15 min 2015

Idan Brull

Following the film Limited blue (1984) by Noud Heerkens, Idan Brull created a series of short videos that describe a daily routine from the inside (the house) to the outside,(to the streets) and back. He searches for things that are of interest to him in this walk he does, the everyday events that pass us by.



Bright Light 1 Bright Light 2

Bright Light, 6 min 2015

Iebeltje van der Spoel

Iebeltje van der Spoel made Bright LIght based on the films Limited Blue and Last Conversation by Noud Heerkens: a man sits in his car in front of his ex’s house. He is unsure if he should get out and ring her bell. While time is passing by he smokes one cigarette after another and closely watches her apartment. He gets haunted by a dreamlike world in which people seem to come and go.



Pleats 1 Pleats 2

Pleats, 3 min, 2015

Verena Blok

Point of departure for this short film is the Blok’s fascination for the sculptural aspects of the body. With her camera Blok moves close to the skin, each part of the body seems to gain a certain rythm. With a 50 mm lens she concentrates on the abstract forms and materials of the contextual surroundings, showing the intimate atmosphere of someone’s life.


7 5

Perfect frame, 20 min 2015

Jacklyn Cornelisse, Simone Engelen, Mihai Gui, Anne Lucassen

Four master students try to figure out what the perfect frame would look like, as four different cameras record this process. Each of their four perspectives is revealed and manipulated as they progress through the discussion and the film. A fifth, exterior, perspective provides a solid anchor for this meta-experience that will end when the question is answered: what does the perfect frame look like? The setup and the filming will all take place on a single day and draws its main inspiration from Last Conversation (2009) providing a line of dialogue to it through the great similarity in the means employed, while also presenting a completely different experience because of its self-referential and real-life based storyline.