Surprise! Gracias brother!! @sozyone
On-Point Records x Museum Night Fever 2014
Ne Me Quitte Pas, a Dutch documentary following several months in the lives of long-time best friends Bob and Marcel.
‘Ne me quitte pas’ is a tragicomic ode to failure. Set in Wallonia, Bob and Marcel share their solitude, sense of humor and craving for alcohol.
Read a review of the premiere at IDFA over here. 2014 and la Belgitude continues, beautiful!
Elektro Moskva (Electro Moscow) is an essayistic documentary about the Soviet electronic age and its legacy. The story begins with the inventor of the world’s first electronic instrument, Leon Theremin, unveiling the KGB’s huge pile of fascinating devices, some of which were musical. They all came into existence as a by-product of a rampant defense industry. Nowadays, those aged and abandoned ‘musical coffins’, as solidly made as a Kalashnikov, are being recycled and reinterpreted by the post-Soviet generations of musicians, sound collectors and circuit benders. The story of the Soviet synthesizers as an allegory to the everyday life under the Soviet system: nothing works, but you have to make the best out of it. An electronic fairy tale about the inventive spirit of the free mind inside the iron curtain- and beyond.
The Uprising appears to be an extraordinary documentary is being screened in Brussels for the first time january 30th at Bozar, and a second time at Cinema Nova on february 7th. No trailer seemed to be put online yet, which is not all that surprising as the movie is entirely made out of amateur footage, which is already online.
Here’s the director’s statement, to clarify things:
“To find the appropriate form for this material took me over two years, during which I not only watched hundreds of hours of YouTube videos, but also shuttled back and forward between Belgium and Egypt, screening work-in-progress prints to friends and strangers who had taken part in the Jan25 revolution, and gauging if not my success, then at least my more obvious failures, against their ability to recognise their own experience in the idiosyncratic mirror that I held up to them. Over this time, the structure of the film evolved radically. Eschewing both chronological history and political analysis, the final version proposes instead the linear narrative of an imaginary revolution that makes free with time and space — in which a stone thrown in a street in Syria may land in a square in Libya, while the call to revolt in Cairo is answered by a crowd in Tunis or in Sana’a.
The Uprising is based, not on a naive belief in the power of spontaneous rebellion to usher in a perfect and just world, but on the incontrovertible evidence that video works. That it communicates an energy that can break down walls of isolation and fear, and transform people’s lives. That it can preserve the individual voice without which the largest crowd is worth nothing. And that this call to refuse the humiliation and ridicule that governments heap upon those they govern, and to try and live instead with honour and with dignity, can speak directly not only to the people of these six Arab nations, but to all of us, everywhere.”
Divine Horsemen: The Living Gods of Haiti (1985) is a black-and-white documentary film about dance and possession in Haitian vodou that was shot by experimental filmmaker Maya Deren between 1947 and 1954.
In 1981, twenty years after Deren’s death, the film was completed by Deren’s third husband Teiji Ito (1935-1982) and his wife Cherel Winett Ito (1947-1999). Most of the film consists of images of dancing and bodies in motion during rituals in Rada and Petro services.
Deren had studied dance as well as photography and filmmaking. She originally went to Haiti with the funding from a Guggenheim fellowship and the stated intention of filming the dancing that forms a crucial part of the vodou ceremony. In 1953, Deren’s book Divine Horsemen: The Voodoo Gods of Haiti, on the subject of vodou, was published by Vanguard Press.
The film that resulted, however, reflected Deren’s increasing personal engagement with vodou and its practitioners (Wilcken, 1986). While this ultimately resulted in Deren disregarding the guidelines of the fellowship, Deren was able to record scenes that probably would have been inaccessible to other filmmakers.
When guiding foreign visiting friends around Brussels, and sometimes outside of it, more than often they are amazed by the chaotic and extravagant architecture, wondering how this happened. Jonathan Meades gives somewhat of an explanation to this.
Magritte was a Social Realist. Jonathan Meades explores Belgium and discovers that surrealism is the norm in coffin shops, finch sport, horse eating, vertical archery, cinema-churches, and the museums of underwear, penguins and ironing. -
Before Bad Brains, the Sex Pistols or even the Ramones, there was a band called Death. Punk before punk existed, three teenage brothers in the early ’70s formed a band in their spare bedroom, began playing a few local gigs and even pressed a single in the hoped of getting signed. But this was the era of Motown and emerging disco. Record companies found Death’s music – and band name – too intimidating, and the group were never given a fair shot, disbanding before they even completed one album. Equal parts electrifying rockumentary and epic family love story, A Band Called Death chronicles the incredible fairy-tale journey of what happened almost three decades later, when a dusty 1974 demo tape made it way out of the attic and found an audience several generations younger. Playing music impossible ahead of its time, Death is now being credited as the first black punk band (hell…the first punk band!), and are finally receiving their long overdue recognition as true rock pioneers.