Program
LANGWEILE #2
Program ︎︎︎
13/03/2021
LA CHAMBRE (CHANTAL AKERMAN, 1972, 11’)
A long and slow panoramic shot depicts a room where Chantal Akerman sits, on a bed. A mysterious self-portrait of the filmmaker as well as a cinematic still-life.
TIRANA (EVA CLAUS, 2019, 3’)
An afternoon filming in Tirana, Albania; going up and down the pyramid. Kids proudly show us their urban playground, climbing to the top, ruling their city.
OUMI. FROM NOTHING TO SOMETHING TO SOMETHING ELSE PART 3, (MANON DE BOER, 2019, 15’)
A teenage girl sings and interacts with objects around her, lost in her own thoughts. The intimacy of her breathing and her voice remind us of an inner world we have no access to.
SUNDAY (ANS MERTENS, 2020, 13’)
Set in a natural reserve, the film treats the frame as a path, guiding the spectator’s eye, like the wanderer is guided along sights. However, the cinematic frame hits the tension between the rough landscape and its cultivation.
TOUWFIGUREN (KATRIEN VERMEIRE, 2016, 14’)
Katrien Vermeire drew inspiration from the encyclopedic film Fadenspiele (1969), part of the German film series Encyclopaedia Cinematographica by H.R. Haefelinger. Touwfiguren shows two children making string figures. It focuses on the practice as a game and pays attention to the movements and the action.
This selection includes films that meet at the sidelines of active life. It’s as if the essence of human condition was exposed there, in the shadow of working and performing. The gaze of these filmmakers is not a distant observation, nor a mere exploration of people playing games or contemplating. Their gaze joins the contemplation itself and playfully participates in the time that is free, and necessary in it’s aimlessness.
This selection includes films that meet at the sidelines of active life. It’s as if the essence of human condition was exposed there, in the shadow of working and performing. The gaze of these filmmakers is not a distant observation, nor a mere exploration of people playing games or contemplating. Their gaze joins the contemplation itself and playfully participates in the time that is free, and necessary in it’s aimlessness.