Een pareltje is het, deze in elk geval voor mij onbekende film De Inspirator die ik bij toeval tegenkwam in de filmagenda van het onvolprezen Amsterdamse Ketelhuis. Slechts een dag zou de film vertoond worden. Terwijl ik met toenemend plezier naar de film keek, verwonderde ik me daar steeds meer over. Waarom verdient deze film geen uitgebreidere presentatie en publiek?
Hoofdpersoon Gijs Schippers zet een buitengewoon rake schets neer van een bewogen managementgoeroe op het terrein van organisatieverandering, transities noemt hij het ook, en leiderschap. Zijn type is vanaf het eerste moment herkenbaar zonder dat het een karikatuur wordt.
Sowieso zit De Inspirator goed in elkaar. Je verveelt je geen moment, hier is een buitengewoon goede scenarioschrijver aan het werk geweest. Het verhaal zit vol verrassende wendingen en humoristische details – hoewel ik zoals wel vaker merkte dat ik erg moest lachen terwijl niemand in de zaal leek mee te lachen. Over wat grappig is. kun je van mening verschillen, dat is duidelijk.
Twee mensen die een bestaande relatie hebben, onderhouden samen een geheime relatie: de managementgoeroe Gijs zelf en zijn vriendin Judith. Hun partners blijven onderbelicht tot in het laatste deel van de film: dan krijgen zij plotseling vorm en kleur. Daarmee veranderen de verhoudingen en ontstaat er een diepgaander verhaal dan in het begin van de film als de partners slechts bijzaak lijken te zijn.
Je zou kunnen beweren dat De Inspirator gaat over zingeving. Of over de vraag wat je nu eigenlijk wilt in de spanning tussen carrière en liefdesleven. Of over het jezelf verliezen in succes of in de schaduw van succes. Eigenlijk doet dat er niet toe. De film is goed genoeg om er elke toeschouwer zijn eigen verhaal en betekenis in te laten vinden. En een geweldig leuke ervaring te krijgen.
Nergens heb ik kunnen opsporen waarom deze film is gemaakt en wat de makers beweegt; intrigerend want het is toch veel tijd en energie die men eraan besteedt en het lijkt alsof ze veel creativiteit moesten ontplooien om alles voor elkaar te krijgen. Hoe dan ook wil ik hier wel kwijt: goed gedaan! Het is een verrijking voor de Nederlandse film. De Inspirator verdient meer vertoningen en als je in de buurt bent van zo’n voorstelling: zeker gaan kijken.
In the film Visages Villages two outstanding artists, 88 year old filmmaker Agnès Varda and 33 year old photographer JR, show the brilliance of the normal in a way that has not been done before. In JR’s van that is equiped to produce on-the-spot photo posters they cross villages and a harbour in search of people to photograph – and spots to present them on. The effect of their method is outstanding from the point of view ‘art and creativity’ and most moving for the individuals that are touched by their initiative.
The woman ‘who was just a server in the restaurant’ becomes – through her poster on the wall of a house – the most photographed woman of the village; the wives of the tough men working in the harbour are drawn out of the shadow into the light, both vulnerable and strong; the only inhabitant left in mine workers houses, almost forgotten by the world, becomes a monument of resistance; and so on. What is absolutely unique about this road movie that could also be called a road documentary, is the normality shown in its full brilliance. It shows that normality can be infinitely more interesting and great than the special.
While creating all this, the dynamics between Agnès Varda and JR in and outside JR’s van follow their own road, interesting in itself. These people that differ so much in age find common ground in ambition, personal traits and mutual respect. From a vivid wheelchair run through Musée du Louvre in Paris to sharing sadness and perspectives on life: it forms one breathtaking story for the spectators. Visages Villages seems to be composed out of many different elements without too much connection. Yet this film shows you life like it is and life seated still sit in your cinema chair, long after the subtitles have gone; thoughtful, amazed, and happy.
Prix Festival de Cannes: L’œil d’or pour Meilleure Film Documentaire
The camera in the movie Kedi (Turkish for ‘cat’) follows many cats that walk in the streets of Istanbul/Turkey from the point of view these cats have of the city. This offers a great insight in their experiences. Overall in this movie, the camerawork is very special. Istanbul as a city and the inhabitants of Istanbul – especially the cat-loving inhabitants – are shown with warmth and beauty. Just the camerawork in itself makes the movie Kedi worth a visit.
But there is more to say. The core story shows us how cats conquer the people’s hearts. The cats choose who can love and feed them. And the people warmly respond to that wish. It is wonderful to see the different characters of the cats: from a clever thief to the psychopath of the neighbourhood, from the curious cat in the bag of organic tea at the market to the gentleman who never enters the place where he gets his food, but who simply scratches the window outside whenever he is hungry. The humans adapt to the cats; not the opposite. For cat lovers, watching Kedi is heaven!
And there is more to it. For those who love psychology and/or philosophy, Kedi has a lot to offer. People explain their relationships with the cats and come up with surprising remarks about what the cats mean for them: from finding money with the help of a cat to experiencing therapy by helping the cats. And what about these comments on the world:
– ‘cats absorb your redundant energy, just like earth does’
– ‘cats know about God, dogs don’t. Dogs think that humans are God but cats know that humans are an instrument in the hand of God to feed them’.
Just two examples, there are many more.
One last thing I liked a lot and that made me think is a remark made about freedom. I have written about cats in Istanbul in 2012. The perspective that humans should not take cats inside to keep them there because in doing so, they will make cats forget how to be a cat, is new for me. This movie Kedi clearly shows what is meant with this perspective. Freedom is everything, even when it comes with disadvantages.
Maybe you don’t agree. Well, all I can say is: go see it yourself. There’s a lot more in Kedi then I can show here and you will not regret. Enjoy!
De jacht op mijn vader: The hunt for my father is a very interesting documentary made by Gülsah Dogan. It is the second movie that I see from her and again I think her work is outstanding in many aspects.
In this documentary Gülsah Dogan follows the author Karin Amatmoekrim who is looking for her father Eric Lie in Suriname. Karin wants to write a book about her father; her mother left the country when she was still a baby and went to the Netherlands, apparently because she was not the only woman for Eric Lie. He as a famous Taekwondo champion and good looking man was popular among women. Thus Karin grew up without father far away, in the Netherlands and it is Gülsah’s quality to show the underlying feelings not by words, but in images. It is difficult not to feel some irritations during this documentary: in the title it is about the ‘hunt for her father’, however it is possible to conclude that it is more about the author herself than about the father.
The story takes place in the beautiful tropic context of Surinam and unfolds in interesting scenes and surprising pictures of the nature: from a cockridge defending itself against ants to trips on the river Marowijne.
Gülsah Dogan has produced another masterpiece after the outstanding documentary Naziha’s Spring. You can see it (in Dutch under the title De jacht op mijn vader) Thursday 11 May 2017 at 22.55h on NPO2. Let’s hope Gülsah Dogan’s work will be translated in the future because it is special what she makes.
Another one of these great French movies: Quand on a 17 ans (being 17). French art means that the story is multilayered; the story does not run from one action to the other but shows the diversity of events happening in just a few people’s lifes in a mountain village high in the Pyrenees.
That setting is great, absolutely well chosen and beautifully exploited. You’ll see the nature of high mountains in different seasons. The very best scenery is at night, in the snow white mountains and the moon shining, when one of the main characters takes a bath in a lake reflecting the peak and the trees.
The main story in Quand on a 17 ans is about two young guys who seem to hate each other, but guess what at the end of the movie… 🙂 in that sense it is a quite romantic movie where ‘tout va bien qui finit bien’. The road to that good ending has enough complexity in it to keep the spectator interested. Apart from that, there is life in the movie and death and all human weaknesses and anxieties as they can be lived, even high up in the mountains. Quand on a 17 ans is worth watching!
Dheepan is somehow a ‘neutral’ movie about refugees as it concerns refugees from Sri Lanka; I worked with many of them in the ’90ties but today we concentrate on other regions as every reader knows. Technically this choice in the movie creates a healthy distance to emotions in actuality. And practically, it makes no difference.
Refugees run for a reason, most often a quite serious one. And yes, they are surrounded by luck-seekers, criminals who have other reasons to flee and economic migrants. Making the difference between one and the other is an ideal but in practice not very easy. However the movie is not about asylum policies and dilemmas, it is about how people flee and become a refugee and how they experience the country in which they arrive.
In this movie, the Sri Lanka refugees find a house and a job in the banlieu of Paris, in one of the worst banlieus – I think the movie maker even wanted to point out that the refugees run from a war to end up in another one. It is as much a complaint against the ‘drugs in banlieu’ situation as about the refugee situation. Specifically, the total lack of law enforcement (no police or authorities at all) surprises the public.
I think the movie is brilliant in the way it depicts the refugees. I recognized every emotion, both in daily life and in the history of violence and resistence that refugees from war and conflict areas bring with them – not as a choice but as a fact. My experience with that is both friendship and work and I found the movie Dheepa shiveringly realistic and very strong in the way of showing the emotional side.
As a former French teacher, I regretted that the refugees end up in England – to their satisfaction – and not somewhere else in France, a country I love. This is, of course, a biased view 🙂 Anyway the movie ends well, which in a world of problems is nice and more encouraging to go and watch the movie than the opposite.
What surprised me is that nowadays every discussion and debate in the Netherlands is about refugees but we were only 8 spectators: 8! in a large cinema. Sometimes I wonder how much indepth knowledge people want about reality – I see loads of over-emotional people and few people able to handle the complexity that comes with refugee issues. Let’s face reality even when it is not simple. Go watch the Dheepan movie, warmly recommended!
Banana pancakes and the children of the sticky rice is a great documentary about two guys, or maybe an entire village in Laos in a period of starting tourism. The place is still ‘all natural’ and the first tourists arriving, mainly backpackers from France, Belgium and the Netherlands, are startled by the purity of the place. The village develops in many aspects and the two guys that are particularly followed in this documentary try to improve their life by offering touristic services. The road they go is so interesting!
The tourists themselves are also quite interesting, some of their conversations are recorded. They have their opinions about life in the village and how it develops and it does not seem to match a lot with the culture and desires of the villagers themselves. Although very sympathic, there was also a note of arrogance in their song.
From the point of view ‘image taking’ the documentary has quite some ‘vague’ moments, maybe nice as a hobby for the filmer but for spectators not always attractive I thought. Fortunately, many good and sharp moments offer enough compensation 😉 So go see this documentary now because usually this kind of movies do not stay long in the cinemas. More info: https://www.facebook.com/laosdocumentary
Other movies with a strong cultural side I wrote about that you might like: Kedi Dheepan
How to make a movie that is only playing in a taxi and does not bore any minute? Taxi Teheran is a succesfull try-out of that concept although not by free choice alone. Jafar Panahi, maker of the movie and also its main character has a history of struggling with censure and oppression in his country Iran. He is not allowed to make movies during 20 years and this movie, Taxi Teheran, was made secretly and smuggled out of the country.
The movie is very funny with many surprising moments, and it has a groundtune of sadness underneath. As such, it is very Iranian: Iranians usually are well developed, social, bright and full of life, they know how to make the best out of difficult circumstances. But that does not mean that they do not feel the difficult circumstances, especially the oppression.
In Taxi Teheran we see a wonderful mix of people entering and leaving Jafar Panahi’s taxi. Even the concept ‘taxi’ in Teheran is different from other countries and that in itself creates unexpected situations. Taxi Teheran shows a lot of interesting interaction between a variety of inhabitants of Teheran. And it gives some great insights in the well developed double face of Iran, in survival and creativity against the odds.
I was withholding my breath all the time while watching this movie: Loin des hommes. Algeria 1954, the colonial war or freedom war or however you want to call it, is about to begin. A teacher who’s school is in the middle of nowhere in the Atlas mountains gets involved. He is not looking for that but fate is looking for him. He ends up in several unexpected half war half peace situations. The mountains in the middle of nowhere are much more populated than you’d think: they are full of life, love and fights. Both the rebels and the French find their way over the invisible mountain paths. Will he have to give up his dream, to teach the children how to read? The teacher is also confronted with issues of culture, religion and identity. His parents were from Andalusia, he himself has always lived in Algeria and now others see him as French. There is so much actuality in this movie, it is not just a historical picture. And there is lots of deep warm friendship from man to man in this movie, too. The pictures are stunning. Go there, if you want to see something different!
Turist is a great movie with many layers and enough humour not to make this too serious a movie. The maker of this movie, Ruben Östlund, has thought a lot about the psychology and behaviour of survival in sudden extreme circumstances like disasters. Statistically, he says in an interview in Het Parool (Amsterdam newspaper) 18/2, most men run away and do not save the women and children. Still, we stay with the myth of heroism in extreme circumstances. It interests Östlund why we do that and we can see that in this brilliant movie Turist. The difference between the myth of heroism we believe in and the confrontation with reality is a fundamental theme in the movie: how to face, how to deal with that reality?
We follow a Swedish model family on their ski holidays in France. Confronted with an avalanche, the father of the family runs away leaving his wife and two children behind. Lots of stories arise from that split second. You won’t be bored. The pictures in Turist are very beautiful. You won’t be disappointed there either. Also, you will learn why to never fly your drone inside the house.
It was a coincidence that I went to an IDFA documentary, I never have / take time for things like that but in this case the maker of the documentary was the daughter of a friend with whom I participate in a Turkish litterature club – yes, all Turkish spoken so you understand I do not speak a lot, however I do read all the books (in Turkish) while not every participant does 🙂
I have to say that Gülsah Dogan presented an outstanding documentary that should be obliged learning material for any organisation involved in the problems of Amsterdam-West families. She has succeeded to make an inside picture about one of the (former) most problematic Dutch-Moroccan families Amsterdam-West has known. And anyone in the public can recognize and feel the characters, the conflicts, the existentialist problems that occur in this story. It is very moving – there were many tears – and the complexity of extreme family situations is revealed. This is a documentary that deserves a price and I hope it will win.
See http://www.idfa.nl/industry/tags/project.aspx?id=5273991f-70a3-431d-836f-264b6b41bce6, for more info and also times to visit next wednesday, thursday and saturday 26/27/29 November. Don’t miss this one! For me, it will still be on my mind for many days; it is really, really impressive!
It is one of those ‘different’ festivals, the pluk-de-nacht / seize-the-night festival in Amsterdam. Close to my home, there is a stone head (stenen hoofd), a former place for ships to stay on the riverside, that is now deserted and, rare in Amsterdam, not being confiscated yet for building houses or offices. This is where alternative activities are organised like the pluk-de-nacht / seize the night festival.
I went there last night and saw an almost incomprehensible Irish movie on the riverside: http://www.plukdenacht.nl/movie/behold-the-lamb-2/. I felt sorry for every human and animal in the movie – none of them were happy, although the humans lived and the animals died so that was not the same fate. And I didn’t get the clue, but possibly my attention was not really focussed because of the river and the boats, the public (a festival well visited!), my lovely companion, or just the cold that is always there as soon as the Netherlands have an outdoor festival…
There were nice food and drinks available (good wine from a sponsoring local company!) and the rental blankets were ok too. All visitors were white – a bit weird in a multicultural town like Amsterdam – and their behaviour was white too: no bother, polite and fun, but no collectivity or togetherness. A festival with its own colours and flavours, in Amsterdam 4 more days to go so I’d say: don’t miss it, go, see and enjoy!