past screenings and events

The Metamorphosis of Birds

Catarina Vasconcelos, 2020

with an introduction by Parker Burrows

In an essayistic form that rests somewhere in between fiction and documentary, Vasconcelos recounts stories of her late mother and grandmother - sometimes through her own eyes, and sometimes through her father’s. Vasconcelos’ background in fine arts is apparent in the cinematography, which captures luscious nature and intimate domestic scenes with the careful deliberation of classical still lifes. Through gorgeously poetic voiceover, Vasconcelos blurs many lines - between analog and digital archives, between grief and optimism, between dreams and memories. A treasure of contemporary documentary filmmaking.

India Song

Marguerite Duras, 1975

with an introduction by Theo Du

'A love story set in Calcutta', is perhaps all the information one needs to understand Marguerite Duras' India Song (1975). Most famous as the writer of Hiroshima, Mon Amour (1959), Duras' India Song can be seen as another exploration of memory, loss, and the impossibility of return. The author of over 25 novels, here we see the prime example of her 'literary cinema.' As we follow the lush and pompous lives of colonial ambassadors, attaches, and wife around the putrid heat of Calcutta, sickness seeps in. One smells death, incense, petrichor, sweat and champagne; as we hear the same song on the piano, the same dancing song. Featuring Delphine Seyrig and Michael Lonsdale, India Song stays in your head like a fever dream, immaterial yet eminently tactile, unbelievably beautiful yet suffocating.

Salon Kitty

Tinto Brass, 1976

with an introduction by Alex Muller

Directed by the maestro of erotic cinema, Tinto Brass, Salon Kitty is a provocative and controversial film which attempts to unmask the perverse depravity at the heart of Nazism. With bold and salacious mise-en-scène inspired by the paintings of Otto Dix and George Grosz, the film tells the story of Margherita, a young woman recruited by the Nazis to work as a spy in a high-end brothel known as Salon Kitty. Brass's film is known for its unflinching portrayal of the moral decay and licentiousness of the Nazi regime, as well as its unique exploration of the relation between eros and ideology. Through explicit scenes and striking visuals, Salon Kitty sheds light on the darkest corners of human nature and asks us to reconsider the potentiality of genre as an effective source of critique.

Looking for Langston

Isaac Julien, 1989

with an introduction by Fien Limburg

At times labeled as a “documentary” on the life of Harlem Renaissance poet and novelist Langston Hughes, Looking for Langston (1989) is more akin to an associative mosaic or archival fragments, fictional dream-sequences, jazz, still photographs, experimental fiction and poetry. The film was released in the context of the virulent homophobia of the AIDS crisis, and served as an intervention in how the heritage of both the Harlem Renaissance and Hughes has been constructed and maintained, inevitably suffering the threat of a lawsuit from the Hughes Estate. Looking for Langston can be seen as what Julien calls “poetic restitution”, the retrieval and restoration of a stolen, lost or otherwise submerged history and opening up the possibilities of the archive and the museum as a site for radical reinvention through beauty and desire. Abandoning notions of historical verity and chronology, Looking for Langston constructs a sensuous imaginary where the Jazz Age and queer club culture of the 1980s simultaneously coexist in unquestionable harmony.

Leonor Will Never Die

Martika Ramirez Escobar, 2022

with an introduction by Neha Thantry

Driven by the need to settle her mounting electricity bills, Leonor Reyes, once celebrated as a prolific screenwriter, embarks on a journey to breathe new life into one of her old scripts. Her project takes an unexpected turn when, one neighbourly dispute and a freak accident involving a TV set later, she’s sent into a coma that literally catapults her into her unfinished screenplay. There, she becomes the unlikely action hero of this familiar yet faraway world. What unfolds is an epic meta-narrative that lovingly pays homage to the pulpy Filipino genre films of the 70s and 80s while breaking their every rule. As you wrap your head around the film-within-a-film (within another film?) structure of this inventive directorial debut, be prepared to find yourself laughing your heart out one minute and holding back tears the next. In this endearing yet confident ode to the films that shaped our childhoods, Martika Ramirez Escobar weaves together a profound exploration of grief and sacrifice, that ultimately celebrates the joy and healing power of filmmaking.

Where the North Begins

Chester M. Franklin, 1923

with an introduction by Stefan Glowacki

In the snowy forests surrounding the 'Caribou' trade post roams The Wolf-Dog - a foundling adopted by a wolf pack and raised according to the law of the wilderness. Though the feral ways run deep, they have to surrender to the kindness of the heart when The Wolf-Dog finds Gabrielle, a fur trader caught up in an intrigue orchestrated by the cunning trade post manager, Shad. This is the plot of Where the North Begins, a 1923 American silent film featuring Rin Tin Tin, the canine star of silent cinema, in his first leading role. It is the film that reportedly saved Warner Bros. from bankruptcy and launched Rin Tin Tin into international stardom. Surely, a restaging of the mythical scene of domestication, but shown in a way that cannot be reduced to a tale of human mastery.


José Ramón Larraz, 1974

with an introduction by Jacob Engelberg

Harriet (Sally Faulkner) and John (Brian Deacon), a staid and parochial English couple, are off on an equally unadventurous caravanning holiday. Their hopes of calm tranquility are spoiled, however, by the strange presence of two glamorous and mysterious women (Marianne Morris and Anulka Dziubinska), who flit around the woods and country house nearby. As the couple’s curiosity builds, the women take in gentleman callers, whose desires eventually prove deadly. It’s 50 years since the release of José Ramón Larraz’s Vampyres (1974), a low-budget yet luscious film whose inventiveness with the figure of the bisexual female vampire has cemented it as a classic of the vampire genre. Vampyres serves up sex and gore at their most ecstatic, with a good dose of humour to boot, but its most alluring and enduring images are those attesting to the troubling implication of death in desire.


Takeshi Koike, 2009

with an introduction by Bogna Bochińska

Fastening your seatbelts might not be enough to get out of this race in one piece. Redline is the most infamous and deadly intergalactic car race in the universe. The stakes are high, but the prize is even higher. Fame, money and prestige are worth to risk it all. In the midst of this crazy world of speed, aliens, shady business and secret military operations, the story focuses on an underdog, who above all just loves to race. 

Koike’s Redline is a visual delight that gives you an adrenaline rush through pure aesthetic overstimulation. All hand drawn, it took 7 years to make, almost bringing down one of Japan's major animation studios at the time. 

Inside (À l'intérieur)

Alexandre Bustillo & Julien Maury, 2007

with an introduction by Rhys Jones

Alexandre Bustillo and Julien Maury’s gruesome horror À l'intérieur (2007) is a film fixated on physical and metaphysical boundaries: from the fleshy walls of the womb to the less tangible social and economic boundaries imposed by France’s right-wing administration that culminated in the Paris riots of 2005. The plot follows the life of Sarah (Alysson Paradis), a pregnant woman whose partner dies in a car crash. Months later, Sarah is terrorized in her home by a mysterious woman (Béatrice Dalle) who wants Sarah’s unborn child.

Open Hearts

Susanne Bier, 2002

(In collaboration with Media Makers)

Also referred to as Dogme #28, the film uses the filmmaking techniques of the Dogme 95 manifesto, started by Lars von Trier and Thomas Vinterberg in Denmark in the 90s. Open Hearts revolves around a tragic car accident that intertwines the lives of two couples. Cecilie and Joachim’s relationship faces a sudden challenge when Joachim is involved in the accident, leaving him paralyzed. Seeking solace, Cecilie forms an unexpected connection with Niels, the doctor treating Joachim.


Steven Shainberg, 2002

with an introduction by Carolina Amato

Steven Shainberg’s 2002 Secretary offers a witty and audacious look into a particular so-called ‘dysfunctional’ relationship between a young secretary and her strange boss. Lee has just been released from a psychiatric hospital to which she was admitted because of her self-harming tendencies, which she hasn’t fully shaken. Returning home proves to be, once again, unfulfilling thus awakening in her the desire to assert her independence and possibly break out of old habits. After taking a typing course, Lee finds a job at E. Edward Grey’s small (very small) law firm. He establishes himself as unique and peculiar of a character as Lee and soon enough real sexual tension starts building in the office, initiating a sadomasochistic power-play between the two of them. This film, inspired by Mary Gaitskill’s short story in Bad Behaviour (1988), presents the audience with an endearing BDSM-toned romantic comedy which ultimately proves to be an intelligent and multi-dimensional look into dysfunctional love. 

Journey to the West

Dashan Kong, 2021

with an introduction by Constantine Zhang

In Journey to the West, the characters from a classic Chinese story are revived in a modern setting, keeping to the ancient romance writing style. In accordance with the original book, a group is assembled for a mission, an exploration, a pilgrimage, and a dream. Out of the obstacles emerges the vivid image of different characters. The pseudo-documentary filming and dynamic editing (motion sickness alert!) add flavours of humor and absurdity to this legendary tale. Looking at the stars won't salvage us from the gutter, but they are there.

All That Jazz

Bob Fosse, 1979

with an introduction by Martina Furlan

Hats, canes, jazz hands, bent knees, hip rolls. After the success of Cabaret (1974) and suffering from a heart attack, choreographer and director Bob Fosse tells his own life story through the character of Joe Gideon (Roy Scheider). While he juggles between the editing of his latest film and staging a new musical starring his ex wife Audrey (Leland Palmer), Joe struggles with chain smoking, heavy drinking, and drug abuse and the crumbling of his relationships with Audrey, his girlfriend Katie (Ann Reinking) and his daughter Michelle. All That Jazz is a sparkling, effervescent musical but all that glitters is not gold and Fosse conceives a movie death that does not fail to leave an arrogant mark in the history of cinema.

A Q&A with Céline Sciamma 

moderated by Patricia Pisters and Parker Burrows 

Save the date for a special film club event! On “pakjesavond”, when all the children in The Netherlands are hoping they’ve been good enough for presents and sweets, we welcome a very special guest; the celebrated filmmaker Céline Sciamma will join us to discuss her work in a Q&A with Patricia Pisters and Parker Burrows. Known for films like Portrait of a Lady on Fire (2019), Tomboy (2011), Petite Maman (2021) and Girlhood (2014), Sciamma’s work deals with gender fluidity, sexuality, the representation of lesbianism and queerness. The discussion will alternate with clips from her films, and perhaps even a preview of a new short film!

Petite Maman

Céline Sciamma, 2021

with an introduction by Parker Burrows

To prepare for the arrival of Céline Sciamma, one of the biggest figures in contemporary cinema, we are screening her most recent film: Petite Maman. The film follows Nelly, an eight-year old girl who wanders into the woods behind her recently deceased grandmother’s house and encounters a new friend: another eight-year old girl who bears a striking resemblance to Nelly’s mother. Petite Maman follows in the footsteps of 2019’s Portrait of a Lady on Fire by moving away from the overtly oppressive settings within Sciamma’s early films and instead situates its story inside a magically peaceful world. With a tone inspired by films like Hayao Miyazaki’s My Neighbor Totoro, Petite Maman examines the anxieties of grief alongside the tiny comforts of hot chocolate, wool sweaters, and orange autumn leaves. Petite Maman is a gentle, brief film (only a little over 70 minutes!) that simultaneously holds a powerful sense of childlike curiosity and warm emotional maturity. 

Sullivan's Travels

Preston Sturges, 1941

with an introduction by Marein van den Heuvel

Directed by screwball comedy expert Preston Sturges, Sullivan’s Travels is a delightful blend of comedy and social commentary, investigating the power of laughter in the face of adversity. We follow the rich John L. Sullivan who is tired of making his usual screwball comedies as he starts his personal journey to experience the struggles of people living in poverty, hoping to find the experienced that’s needed to make serious films. Along the way, he encounters a series of misadventures that challenge his privileged perception of the world. The film is a brilliant precursor for the current problems of poverty porn while also showcasing the profound impact that laughter can have on the human spirit. It's a heartfelt film that will make you laugh, frown and think about the controversial solution it offers regarding the exploitation of poverty within cinema.

Hour of the Wolf

Ingmar Bergman, 1968

with an introduction by Nimaye Nambiar

“The Hour of the Wolf is the hour between night and dawn. It is the hour when most people die. It is the hour when the sleepless are haunted by their deepest fear, when ghosts and demons are most powerful.” 

The essence of Bergman’s oeuvre lies in his internal monologue, his own confrontation. With a cinematic grammar that renders to something along the lines of an oneiric awakening, Bergman’s obsession with the postures his demons possess makes Hour of the Wolf that much more fascinating. Scrutinized for being ‘too personal’ by Bergman himself, Hour of the Wolf can be considered his first ‘horror’. The film is the terrifying portrait of an artist’s collapse that simultaneously investigates a mesh of anxieties surrounding fidelity, fatherhood, and artistic integrity, while also materializing a state of mind charged with projections, transpositions, and dilutions. Poetically eerie, technically proficient, and deeply concerning, Hour of the Wolf is a ghost story, a nightmare, that illuminates. And who was it that said “what are moments of illumination if not momentarily felt truth?”

Killer Nun

Giulio Berruti, 1979

with an introduction by Martina Furlan

From the secret files of the Vatican! 

An unsettling and unconventional addition to the subgenre of nunsploitation films, Killer Nun stars Anita Ekberg as Sister Gertrude, a tormented nun whose psyche is besieged by disquieting visions filled with graphic and violent imagery. Her morphine addiction triggers her psychotic behavior while fostering a nightmarish realm where lesbianism, torture, and death reign supreme. Originally banned in the UK for its provocative content, Killer Nun is loosely based on the story of a Belgian nun who allegedly committed a series of murders in a geriatric hospital in 1977. This cinematic journey into darkness beckons us to a transgressive Halloween screening, where an unholy exploration of faith, perversion, and psychological turmoil unfolds. 

You, the Living

Roy Andersson, 2007

with an introduction by Fatme Hawarin

In You, the Living, the second film of his loosely connected Living trilogy, Andersson artfully stages a series of tragicomic vignettes. Notably, a carpenter stuck in traffic dreams of being executed for breaking a china set during dinner. Influenced by the German New Objectivity Andersson paints his sets like canvases on which the grey mundane, slowly, comes to life as lyrical absurdity. It’s a world in which “the colors aren’t so much muted, as they have taken a stripped vow of silence.” Despite its existential undertones, however, the film is a hilarious mood piece that, perhaps, could even be considered a musical!


Shaji N. Karun, 1999

with an introduction by Neha Thantry

Set against the vibrant cultural tapestry of 1950s Kerala, Vanaprastham is a Malayalam-language film that intricately explores the boundaries between reality and performance, tradition and modernity, and personal desires versus societal expectations. This captivating psychological drama follows the journey of a Kathakali dancer who faces ostracization due to his lower caste background while navigating a torrid love affair that blurs the lines between truth and fiction. Considered a landmark in Indian cinema, the film's breathtaking visuals and innovative use of classical dance and music as a storytelling medium provide a poignant reflection on the multifaceted role of artists in shaping the politics of art and mythology within a society undergoing rapid change.


Paul Verhoeven, 1995

with an introduction by Fien Limburg

Hailed as “great trash” by John Waters, director Paul Verhoeven’s dazzling disaster remains the subject of virulent discussion, perpetually seeming to elude the grasp of interpretation. We follow the various misfortunes of our histrionic heroine Nomi Malone (Elizabeth Berkley) as she attempts to retain her virtue in the city of sin. Nomi’s aspirations of becoming a showgirl at the illustrious Stardust Casino plunge her into the acrylic-clawed clutches of the topless-revue prima-donna Cristal Connors (Gina Gershon). Naturally vicious competition and erotically charged cruelty ensue. A blinding effulgence of neon-lights, oceans of gemstones, gratuitous nudity, peroxide blondes, fever-pitch performances: This glamorous cataclysm blazes with the undeniable hypnotic allure of a violent car crash. Resist and suffer or blissfully yield to the mania. That’s Vegas baby!

How did they ever make a movie about showgirls?


Pier Paolo Pasolini, 1968

with an introduction by Martina Furlan

A mysterious figure visits a bourgeois Italian family in Pier Paolo Pasolini’s Teorema (1968). Starring international stars such as Terrence Stamp, Silvana Mangano and Anne Wiazemsky, the film is an exploration of the bourgeois spiritual emptiness which leans away from Pasolini’s proletarian rawness of his previous features. An almost divine force, the Visitor seduces the members of the family and sends them into an existential crisis. Through this film, Pasolini demonstrates his own theorem: “the incapacity of the modern man to perceive, listen and absorb and live the sacred teaching.”


Kristina Buozyte and Bruno Samper, 2022

with an introduction by Patrcia Pisters

After the collapse of Earth’s ecosystem, Vesper, a 13-year-old girl struggling to survive with her paralyzed Father, meets a mysterious Woman with a secret that forces Vesper to use her wits, strength and bio-hacking abilities to fight for the possibility of a future.

With a special appearance from the directors

Desperate Living

John Waters, 1977

with an introduction by Grace Childs

The third film of the so-called Trash Trilogy, which includes Pink Flamingos (19) and Female Trouble (19), Desperate Living (1977) is another lurid, campy, obscene addition to John Waters’ filmography. Starring Dreamlanders Mink Stole, Mary Vivian Pearce, Edith Massey, Susan Lowe, and George Figgs, the film is about housewife Peggy Gravel who, after being discharged from a psychiatric hospital, flees her neighborhood with her maid Grizelda and ends up in the filthy shantytown of Mortville, inhabited by criminals, sexual outcasts and the evil Queen Carlotta. Described by Waters himself as “a fairy tale for fucked-up children,” Desperate Living is a masterclass in anti-authoritarianism and anarchist anger that does not fail at grossing you out.

Short Signals

Shorts compilation

with an introduction by Theo Du

"Video is everywhere today—on our phones and screens, defining new spaces and experiences, spreading memes, lies, fervor, and power. Shared, sent, and networked, it shapes public opinion and creates new publics. In other words, video has transformed the world. Bringing together a diverse range of work from the past six decades, Signals reveals the ways in which artists have posed video as an agent of global change—from televised revolution to electronic democracy."

Pather Panchali (Satyajit Ray, 1955)

with an introduction by Nimaye Nambiar

Satyajit Ray’s debut feature Pather Panchali (1955) follows siblings Apu and Durga as they navigate their impoverished rural lives in West Bengal. Based on the novel by Bibhutibhushan Bandyopadhyay of the same name, Ray explores a range of themes including tradition in contrast to the call for modernity, poverty, and childhood. Distinct from the heavily stylized and romantic Bollywood films at the time, Ray was inspired by the Italian neorealists (particularly Vittorio de Sica’s Ladri di Biciclette), Jean Renoir, and Alexander Dovzhenko, creating a work of social realist cinema. Pather Panchali was immediately met with critical acclaim with a Human Document Award at Cannes and the Best Film Award at BAFTA. 

Faces (John Cassavetes, 1968)

with an introduction by Sam Yang

"John Cassavetes' 'Faces' is the sort of film that makes you want to grab people by the neck and drag them into the theater and shout: 'Here!'"

a stunning entry into everybody's favourite genre of "middle-class white Americans shouting at each other about marital issues and much more," Cassavetes' Faces carries a loud bang. Sounds of clashing sensibilities, and of the teardown of foundational values of late 60s America. 

Shadows of Forgotten Ancestors  (Sergei Parajanov, 1965)

with an introduction by Marta Rudzynska

Shadows of Forgotten Ancestors guides the viewer through an intricate story of loss, tragedy, love and the cycle of suffering. It gives an insight into the traditions and myths of Ukrainian culture, inviting us to accept magic as an undeniable part of reality. All of this, through the life of Ivan, a boy that witnessed a death of his brother, father, and later the love of his life, who was the daughter of the murderer. His path through the tragedy and salvation becomes the central theme of the story.

Undine (Christian Petzold, 2020)

with an introduction by Lilly Henssge

We are going to start off our themed month with Christian Petzold's Undine (2020), a romantic tale starring Paula Beer and Franz Rogowski, two of Germany's most exciting young actors. The film quietly explores the age-old myth of Undine, a water nymph who falls in love with a human but is doomed by an inescapable curse, in the context of present-day Berlin. By reimagining Undine as a historian in urban development, a nymph specialized in the land that traps her, Petzold reckons not only with Berlin's past and present but with what it means to maintain a sense of the fantastical amidst the disillusionment of modernity. 

Wolf's Hole (Věra Chytilová, 1987)

with an introduction by Fien Limburg

Join us for a snowy last screening of the year… Daisies' (1966) director Věra Chytilová explores the 1980s teen-horror movie by mixing blistering political allegory with science fiction. In Wolf’s Hole, a group of teenagers takes part in a mysterious skiing workshop in the mountains but they soon realize that they are part of sadistic social experiment.

Supermarket Woman (Juzo Itami, 1996)

with an introduction by Martina Furlan

A less known gem from Tampopo’s director Juzo Itami, Supermarket Woman is a vibrant and charming comedy about two friends joining forces in order to save the local supermarket. The manager (Masahiko Tsugawa) of the failing family-owned Honest Mart hires his old classmate Hanako (Nobuko Miyamoto), an experienced housewife, to help him compete with a new rival grocery store. As soon as Hanako takes over, she uncovers a number of discrepancies which she tries to change but not without angering many chiefs of the sections. Itami puts together a cheerful blend of slap-stick farce mixed with humor and astute social observation. 

Fiona Tan / Mountains and Molehills

special visit at eye filmmuseum

How do we hold on to memories – in archives, in the mind, in the landscape, on film? Visual artist and filmmaker Fiona Tan (born in 1966 in Indonesia) works with photography and moving images and creates spatial installations, investigating ways in which we record the world around us. This autumn, Eye Filmmuseum is pleased to present the work of Fiona Tan in the solo exhibition Mountains and Molehills. 

Ivan's Childhood (Andrei Tarkovsky, 1962)

with an introduction by Floris Paalman

Andrei Tarkovsky’s debut feature Ivan’s Childhood is a poetic journey through the fragments and shadows of a 12 year old boy during World War II. In this jarring and unforgettable depiction of the impact of war on children, Tarkovsky moves back and forth between the trauma of war and peaceful moments of family life before the conflict. While other Soviet films of the period glorified the war experience, Ivan’s Childhood focuses on the importance of human life.

Aelita: Queen of Mars with live music @ Muziekgebouw ( Yakov Protazanov, 1924)

In the spirit of last year's screening of The Seashell and The Clergyman and Arabesque, our first excursion for this year will be at Muziekgebouw for the 1924 Soviet film Aelita: Queen of Mars accompanied by live music. It will take place on Wednesday, November 16th 2022 at 20:15; you can find more information about the evening by clicking here.

La Jetée / World of Tomorrow (Chris Marker, 1962 / Don Hertzfeldt 2015-2020)

with an introduction by Marein van den Heuvel

Many recent audiovisual media deploy circular or cyclical movements as a guiding principle. Oftentimes the aesthetic project of such media is to either “break the loop” or to “close the cycle”. These approaches may in fact be two sides of the same coin: achieving a more sustainable mode of existence first requires the overcoming of destructive, habitual cycles. This becomes clear within so-called time travel paradoxes where characters are trapped in a cycle of time itself. Both La Jetée and World of Tomorrow employ the idea of time travel loops in different ways and with this screening we would like to discuss how these two connect to a grander theory of the loop.

The discussion will be accompanied by Toni Pape, UvA researcher and organizer of the ASCA research seminar Breaking the Loop, Closing the Cycle, a seminar that is closely connected to the themes of these films. 

UvA Film Club x Global Extraction Film Festival - Stolen Fish (Gosia Juszczak, 2018) 

with an introduction by Emiel Martens

The first film on Gambia’s fishmeal factories, offering a unique insight into untold drivers of migration. In the Gambia, the smallest country of mainland Africa, fish is now being powdered up by Chinese corporations and exported to Europe and China to feed animals in industrial farming. As a result, Gambians are being deprived of their primary source of protein, overfishing is depleting marine ecosystems. The film follows Abou, Mariama and Paul, three Gambians who share intimate stories of daily struggle, anger, hope and longing for their loved ones. There’s so much to worry about in the world but Stolen Fish is a 30 minute microcosm of what is wrong with it, eloquently put by those who take the brunt of the destruction caused by global capitalism. 

This screening will be in combination with Gifts from Babylon (Bas Ackermann, 2018).

Terrorizers (Edward Yang, 1986)

with an introduction by Theo Du

A quiet explosion captured on film, coming from master filmmaker Edward Yang. This week we delve a bit into the fascinating world of Taiwanese New Wave with a lesser known work by the director of Yi Yi (2000) and A Brighter Summer Day (1991), with a cinematic jigsaw that packs a hell of a punch. A failing marriage intertwined with petty criminals all cruising through the streets of '80s Taipei. With police cars punctuating everything, whose only purpose seem be an unwilling participant of metropolitan cacophony. Modernity has never been dissected in such bombastic way, or understated way, all depending on how you interpret the ending. Join us for a fascinating slice of the cynical humanism beautifully composed on the big screen!

Bound (The Wachowskis, 1996)

with an introduction by Lilly Henssge

Three years before The Matrix would leave its mark on the film industry and pop culture at large, sisters Lana and Lilly Wachowski made their directorial debut with sensual neo-noir thriller Bound, starring Gina Gershon and Jennifer Tilly as two lovers scheming to con the Mafia. Far from the multi-million dollar production of a studio franchise, Bound was shot on a tighter budget with no major stars to its name. Despite its reduced scale, the film quickly became a cult favorite and a standout achievement in queer cinema, both making use of and cleverly subverting genre clichés. Filled with sex and violence, Bound – in typical Wachowski fashion – manages to explore the nuances of identity in a way that was clearly ahead of its time.

The Fourth Man (Paul Verhoeven, 1983)

with an introduction by Fien Limburg and Aram Isaac

The alcoholic novelist Gerard (Jeroen Krabbé), prone to lugubrious premonitions of death begins an affair with the androgynous wealthy widow Christine (Renée Soutendijk) and develops a sexual fixation on her boyfriend Herman (Thom Hoffman). After discovering her three last husbands died in gruesome accidents, Gerard’s morbid hallucinations start to bleed into reality as he succumbs to the superstition that Christine might be a witch. Verhoeven’s final Dutch film before continuing his career in Hollywood is a stylishly lurid occult thriller, teeming with morbid catholic imagery and dripping with bisexual eroticism. Generously endowed with the typical Verhoevian flourish, this spellbinding mystery effortlessly alternates between the alluring and the repulsive, between the ridiculous and the profound.

Baraka (Ron Fricke, 1992)

with an introduction by Marein van den Heuvel

"The goal of the film," says producer Mark Magidson, "was to reach past language. nationality, religion and politics and speak to the inner viewer." Baraka explores the human condition by taking viewers on a photographic odyssey through time and space. For some, Baraka is the definition of  'pure cinema' as there is no dialogue throughout this striking documentary; it is only the soundtrack in combination with clever editing of its beautiful imagery in which meaning is created. This unique style cause cultures to intertwine, beauty and destruction to collide and shows how all around the world we experience this same abstract feeling which is known as the essence of life. Come and experience this unique journey at film club as this is a documentary you must see on a big screen with a good audio system!

Fists in the Pocket (Marco Bellocchio, 1965)

with an introduction by Martina Furlan

A scream of revolt against every institution. The striking, cruel debut film of Marco Bellocchio rages with anger and desperation against family, Catholicism, and other cornerstones of the Italian bourgeoisie. Wild, sarcastic, autobiographical, shot in the countryside near Bobbio, the film exhibits a rebellious and antisocial protagonist. Bellocchio anticipates some of the moods of the protests of 1968 by balancing acceptance and detachment. Almost sixty years later, Fists in the Pocket still maintains its modernity and corrosive energy. 

An angry revolt from the inside of the bourgeois scope. It reminds me of Ginsberg's poetry: completely outside of every school of thought, political tendencies, ideologies that have characterized Italian cinema up to now. 

  Pier Paolo Pasolini

Lola (Jacques Demy, 1961)

with an introduction by Blandine Joret

“Wanting happiness is already happiness” – join us this Thursday for our first film of the year, Lola (1961) by Jacques Demy! We’re starting in a nouvelle vague romantic kind of way, with Demy’s feature debut which in several ways shaped the universe for so many of his future films and characters. 

Set in Demy’s hometown, the seaport city of Nantes, Lola tells the intertwined stories of young girls and single mothers, sailors and high school lovers – of coming and going, and arriving just in time. Lola is a cabaret singer awaiting the return of Michel, who left to the USA only to return a rich man. Will she resist the hopeless avances of her old lover Michel or the American sailor Frankie? 

Between the French new wave and Hollywood musicals, with the classic cinematography of Raoul Coutard and the charming performance of Anouk Aimee: come and experience this blend of everyday reality with longed-for fairy tales!

for last year's themed month, we turned our focus to three special screening all about woman filmmakers. through these films we dived into different themes projected onto the silver screen by Agnès Varda, Cheryl Dunye, and Kirsten Johnson. 

Cameraperson (Kirsten Johnson, 2016)

(part of our series Filmmaking Through Her Eyes)

with an introduction by Lilly Henssge

Director Kirsten Johnson puts together a collage of her life and career as a cinematographer in her autobiographical documentary Cameraperson. A boxing match in Brooklyn; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home with the director: Johnson creates a tapestry of footage captured over her twenty-five-year career. Through the juxtaposition of moments and situations that have personally affected her, she meditates about the relationship between filmmaker and their subjects, objectivity and the intervention of the camera. Johnson leads us on a personal journey about the craft of filmmaking and human connection. 

The Watermelon Woman (Cheryl Dunye, 1996)

(part of our series Filmmaking Through Her Eyes)

with an introduction by Blandine Joret

After Paris Is Burning, we’re adding another classic in New Queer Cinema to our program! With her debut feature film The Watermelon Woman, Cheryl Dunye examines the historical caricature of the “mammy”: a black, often overweight older woman working and nursing in white households. As one of the most persisting racial stereotypes in general, the mammy has been for a long time the primary role performed by black women in mainstream film history. 

Cheryl, an aspiring black lesbian filmmaker working in a video store, is making a documentary about a black actress from the 1930s who was typecast, credited only as “the watermelon woman.” While uncovering the meaning of her life, Cheryl simultaneously experiences an upheaval on her own. 

Dunye’s work is characterized by a unique blend of fiction and documentary, addressing issues of LGBTQIA+ and racism in an often penetratingly humorous and intelligent manner. Not only is The Watermelon Woman a classic within the New Queer Cinema movement, it is also a pioneer of the mockumentary genre. 

Jacquot (Agnès Varda, 1991)

(part of our series Filmmaking Through Her Eyes)

with an introduction by Fien Limburg 

Agnès Varda, seminal feminist filmmaker and innovator of the rive gauche of the French New Wave, paint an intimate and lovingly rendered portrait of the childhood of her husband and fellow filmmaker Jacques Demy. The film, released a year after the death of Demy, combines a recreation of the early years of the filmmaker in Occupied France and his passion for the art of cinema combined with documentary interludes of Demy himself and excerpts from his films. A reimagination of a loved one’s recollections, the film is an ode to filmmaking and falling in love with seventh art.

Blood and Black Lace (Mario Bava, 1964)

with an introduction by Grace Childs

The dazzling world of a glamorous Italian fashion house is slashed open when a masked killer begins to dispatch off the staff of models and designers. Now the dirty laundry of this cast of enigmatic characters is brought to light, but who is hiding the biggest secret; the identity of the murderer, and who will be their next ill-fated victim? Mario Bava’s brutal take on the Agatha Christie inspired murder mystery has become an essential Giallo classic, forever changing the visual aesthetics of the genre on film. With its shocking viciousness and its stunning colours, this early entry in the cinematic canon became a definitive sacred text of the genre that still holds up in its own right to this day.

I Will Survive by Hito Steyerl

special visit at the stedelijk museum

An artist, cultural critic, filmmaker, writer and professor, Hito Steyerl is one of the most significant and influential figures in contemporary art. She operates on the boundary between film and visual art, working in genres ranging from documentary cinema to innovative multimedia installations. Her rigorously researched and visually stunning installations illuminate some of the most pressing issues of our time. So if you want to extend your experience on what visual arts could teach us, then this is an exhibition you really do not want to miss out on!

L’eclisse (Michelangelo Antonioni, 1962)

— A Tribute to Monica Vitti 

with an introduction by Martina Furlan

Known as the master of modern cinema, Michelangelo Antonioni redefined the seventh art by focusing more on the form and less on the narrative. With his famous trilogy of alienation L’avventura (1960), La notte (1961) and L’eclisse (1962), he struck for stylistic perfection and came to be defined as “the eye that changed cinema”. Key to his cinematic achievements was his relationship with Monica Vitti – featured in all of the films of the trilogy – who embodied different encapsulations of discontent, estrangement and incommunicability. The last film of the trilogy, L’eclisse tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and initiates a doomed relationship with a vital young man (Alain Delon). The city of Rome and its architecture – a combination of classical Roman buildings and the modern EUR neighborhood – serve as a backdrop for the exploration of the decadence of modernity and its effects.

Amsterdamned (Dick Maas, 1988)

— visited by Dick Maas himself

with an introduction by Aram Isaac

Amsterdam. The city famous for its beautiful canals. But be aware, there might be evil lurking underneath the water. At night he’ll search for his next victim and leave without a trace. Director Dick Maas popularized the so-called Nether-horror with his cult classic Amsterdamned. When a serial killer terrorizes the city, officer Eric Visser (Huub Stapel) is out to catch him. But what is he after? Is it even human? 

La Coquille et le Clergyman and Arabesque (Germaine Dulac, 1928/1929)

Accompanied with live electronic music

with an introduction by Fien Limburg 

Before the seminal Un Chien Andalou (1929) there was Germaine Dulac’s surrealist feat La Coquille et le Clergyman (1928): A hallucinatory voyage through the psyche of a clergyman, tormented by visions of death and lust as he grapples with his sexual fixation on the general’s wife. Reportedly met by a riot upon its release, the film is a pioneering example of early feminist avant-garde experimentation. The screening will be paired with Dulac’s short Arabesque (1929): a visual poem of kaleidoscopic imagery, laid bare in its abstracted beauty.

Both La Coquille et le Clergyman and Arabesque was accompanied by a live performance of an original electronic score provided by Hypochondriac Resonators.

The Full Monty (Peter Cattaneo, 1997) 

with an introduction by Caitlyn van Doorn

The Full Monty is an uplifting British comedy about what it was like to live in Sheffield during the 90s amid a country-wide recession. The film centres around unemployed and divorced Gaz, played by Robert Carlyle, who needs to find money so he can keep seeing his son. As the real dad he is, he devises an outrageous plan to earn a lot of money with the help of a few mates. The rest is for you to find out so come experience the ludicrous lengths these men are willing to go to in order to make ends meet.

Weather Diaries (George Kuchar, 1977, 1988 and 1991)

with an introduction by Riley Gold

George Kuchar (1942–2011), a prolific American underground filmmaker, spent over a decade visiting El Reno, Oklahoma during tornado season. He documents these trips in an eccentric series called the Weather Diaries. While Kuchar does experience multiple storms firsthand—as well as records how the storms are mediated across radio, television, and newspaper—he spends most of his time waiting around for something to happen. 

We screened Wild Night in El Reno (1977), a sort of Weather Diaries prologue shot on film, followed by the VHS experimentations of Weather Diary 3 (1988) and Weather Watch (1991).

Air Conditioner (Fradique, 2020)

with an introduction by Bogna Bochinska

What would you do, if one day an air conditioner fell on your head? This is a real struggle for citizens of Luanda in Fradique’s directorial debut Air Conditioner. In this magical realist tale, we follow Matacedo, a superintendent of an apartment complex, who embarks on a journey to retrieve his boss’s AC unit from a shady repair shop across the street. The mission is not easy as he not only has other duties to fulfill but also has to navigate this strange new world of falling ACs and post-war realities.

The Housemaid (Kim Ki-young, 1960)

with an introduction by Lilly Henssge

Considered a pearl of 1960's South Korean cinema, The Housemaid eludes any simple genre classification. Gut-wrenching yet spellbinding, the film is about a man's affair with his family's housemaid which leads to dark consequences. What follows is a torrid tale of forbidden love, sexual aggression, blackmail, and, ultimately, murder. Ki-young handles this contorted plot with such assured brazenness—mixing social critique with elements of horror and grotesque—that it’s hard not see The Handmaid as a model for all Korean horror made since.

ONE CUT OF THE DEAD (Shin'ichiro Ueda, 2017)

with an introduction by Aram Isaac

Things go badly for a hack director and film crew when shooting a low budget zombie movie in an abandoned WWII Japanese facility. 

The movie is fun and highly creative as it involves the personal lives of the real cast and crew of the One Cut of the Dead production as they prepare to make the one-shot take.

Blue My Mind (Lisa Brühlmann, 2017)

with an introduction by Patricia Pisters

15-year-old Mia is facing an overwhelming transformation which calls her entire existence into question. She questions whether she was adopted; she questions her body; she questions everything about her. Her body is changing radically, and despite desperate attempts to halt the process, she is soon forced to accept that nature is far more powerful than her. 

Through a Glass Darkly (Ingmar Bergman, 1961)

with an introduction by Aram Isaac

The film tells the story of a Schizophrenic young woman (Andersson) vacationing with her family on a remote island, during which time she experiences delusions about meeting God, who ultimately appears to her in the form of a monstrous spider. Her author father attempts to use her illness in his work, and her brother struggles with sexual frustration. In this film, we explore art, psychosis and sexuality altogether.

Five Short Films by David Lynch

Six Men Getting Sick (1966); The Alphabet (1968); The Grandmother (1970); Premonition Following an Evil Deed (1995); Rabbits (2002)

with an introduction by Martina Furlan and Marein van den Heuvel

Described by film critics as a helpful paradigm for Lynch's narrative sense, Six Men Getting Sick is a one-minute animation of a painting by David Lynch himself looped four times and accompanied by a soundtrack of a siren wailing. 

The Alphabet combines animation and live action and goes on for four minutes. It contains a simple narrative structure relating a symbolically rendered expression of a fear of learning.

In a similar way to The Alphabet, The Grandmother also combines live action and animation as the story revolves around a boy who grows a grandmother to escape neglect and abuse from his parents.

Premonition Following an Evil Deed is a bizarre, silent short film about what appears to be an abduction of a girl. 

Rabbits is a 2002 series of eight short horror web films and it depicts three humanoid rabbits in a living room, within a single box set. Their disjointed conversations evoke mystery and thoughts.

Design for Living (Ernst Lubitsch, 1933)

with an introduction by Fien Limburg 

Design for Living (Lubitsch, 1933) tells the story of a sophisticated albeit romantic relationship between three people starting on a train. Charming gal-of-fortune Gilda meets handsome playwright Tom Chambers and even more handsome artist George Curtis. The sparks between the three characters are both fun and silly! 

Gilda cannot decide between two men who love her, and the trio agree to try living together in a platonic friendly relationship. There are a lot of revolutionary ideas and details that make the film far ahead of the time. Don't you want to find out?

Columbus (Kogonada, 2017)

with an introduction by Theo Du

In this film, we follow a Korean-born man who finds himself stuck in Columbus, Indiana, where his architect father is in a coma. The man meets a young woman who wants to stay in Columbus with her mother, a recovering addict, instead of pursuing her own dreams.

Casey decides to move on after a discovery of her mother being untrustworthy. Casey wants to pursue her dream as she stopped holding herself back from the reality and her mother's condition. This is a great break through from herself.

Simon (Eddy Terstall, 2004)

with an introduction by Patricia Pisters 

When Camiel, a gay dentist, and Simon, a carefree café owner, collide in a traffic accident, their lives become intrinsically entangled. When they bump into each other fourteen years later, Simon is severely ill. Camiel experiences at close range how Simon and those around him come to terms. 

Some consider this a modern Dutch cinema classic. “Propaganda,” Terstall admits: “propaganda for a progressive, liberal society.” 

Closeness (Kantemir Balagov, 2017)

with an introduction by Kseniia Bespalova

In the late-1990s squalid town of Nalchik, a poor young Jewish couple is kidnapped and a grievous ransom is demanded, as bitter resentments and cruel dilemmas come to light, magnifying the small community’s grave predicament.

Waterlichamen & Zomerjurk  (Erik Kerssen, 2021) & Paris Is Burning  (Jennie Livingston, 1991) 

with an introduction by Blandine Joret 

During the winter we paired two summertime short films by Erik Kerssen: Zomerjurk and Waterlichamen (both 2021) by Erik, alumnus of our programme, followed by Jennie Livingston’s Paris Is Burning (1991). A truly iconic documentary of drag nights among New York’s underclass. Queens are interviewed and observed preparing for and competing in many ‘balls’. The people, the clothes, and the whole environment are outlandish.

While critically acclaimed to this day, the film also raised eyebrows about the positions we take or are given when making or watching a film. We’ll have much to see and talk about, so join us for a discussion on lgbtq+ club and ball culture, the performative, spectacle and representation, identities and the gaze.

Je tu il elle (Chantal Akerman, 1974)

with an introduction by Blandine Joret

Chantal Akerman: pioneer of the female gaze, auteur of the intimate, director of the quotidian. In Je tu il elle (1974), dramatic tension builds gradually but systematically with each gesture, within and between each frame. 

Through her characteristic experiment with time and duration, Akerman gives us a coming-of-age performance film that, despite its realist style, defies literal readings. Today still, it’s an eye-opening icon of queer cinema: a must-see, an exercise in looking! 

The Cook, The Thief, His Wife & Her Lover  (Peter Greenaway, 1989)

with an introduction by Kirsten van der Holt

With film-theatre memories from last week fresh in our minds, we’re screening Peter Greenaway’s The Cook, The Thief, His Wife & Her Lover (1989). In between meals at Le Hollandais, Georgina tricks her abusive husband with romantic escapes to the bathroom until gastronomy turns into murder.  

This is not for the faint of stomach: expect dark humor, profanity and violence, but also cinematic spectacle, aesthetic pleasure and political irony. Always provocative and controversial, you either love or hate Greenaway: so, let’s see what’s cooking!  

All about Theatre about Film

special visit to the Eye Filmmuseum

“All about theatre about film” is a celebration of the set, staging, the light, acting and scripting: a celebration of everything that ties the theatre to film, and vice versa. Known for their large-scale film-to-stage productions, Eye invited theatre/scenographer duo Ivo van Hove and Jan Versweyveld to stage their fall exhibition. The result is an all-encompassing experience that blends film form with unconventional theatre: come and immerse yourself in the sounds, the film fragments, the outtakes, the props and sets of this Amsterdam based and internationally acclaimed avant-garde theatre duo!

Innocent Sorcerers  (Andrzej Wajda, 1960

with an introduction by Bogna Bochinska

Innocent Sorcerers (1960) gives us the jazzy soundtrack and crisp imagery of “boy meets girl”, playing hard to get while taking the game of seduction quite literally! 

Crooklyn (Spike Lee, 1994)

with an introduction by Blandine Joret 

A plunge into the hustle and bustle of Brooklyn in the seventies, the film bursts with colour, rhythm and life. Following Troy along her journey through the streets of her home, she's truly one of the most iconic children of the cinema! 


special visit to the Eye Filmmuseum

An exploration of cinema's manifestation in a different form, the filmmakers — Lucrecia Martel (South America), Leopold Emmen (Europe), Lemohang Jeremiah Mosese (Africa), Carlos Reygadas (North America) and Jia Zhang-ke (Asia) — were each invited to make a work for the exhibition that exploits the three-dimensional gallery space rather than the two-dimensional cinema screen. For some of them, it was the first time they had created a cinematographic installation that explores the boundaries of their work and of the art of film in general.

Since we screened films by Lucrecia Martel and Jia Zhangke (also included in the expo) it’s going to be interesting to see how their work translates into the exhibition context.

The Lovers on the Bridge (Leos Carax, 1991)

with an introduction by Blandine Joret 

In the spirit of the French New Wave but firmly in the nineties, Leos Carax spirals around the complexities of a troubled love story shot in the streets of Paris.

Orlando (Sally Potter, 1992)

with an introduction by Catherine Lord and Patricia Pisters

a uniquely cinematic adaptation of Virginia Woolf’s 1928 novel, deemed “unmakable” at first. Tilda Swinton’s majestic performance takes us on a gender-bending time-travel through 4 centuries, an impressive visual spectacle that speaks to you directly.

Taste of Cherry (Abbas Kiarostami, 1997)

with an introduction by Hemen Heidari

We’re back in the car, around Tehran this time, as we follow Mr. Badii around seeking a helping hand in his planned suicide. Characteristic of Kiarostami’s style, the film is a minimalist meditation on major political, philosophical and ethical themes.