French filmmaker Robert Bresson (1907–1999) is one of the most radical and unconventional artists in the history of film. In the 13 feature films that he shot between 1943 and 1983, he developed his own individual film language that was "written in moving pictures and sounds" and replaced dramatic acting.
We will show all 13 of Bresson's feature films before 7. May. The retrospective will be complemented by documentary works about the filmmaker.
Bresson's spare style ensures his films cannot be mistaken for those of another.
In formal terms, his films are rigorous, elliptical, anti-dramatic and reduced to the bare essentials. The scenes unfold in a linear fashion, unburdened by emphasis or decorative accessories. His imagery is very simple - Bresson always used a 55mm lens that best suits the human eye. From his third film onwards, he stopped working with professionals, preferring amateurs, whom he called "models" and prevented from "acting".
He formulated his thoughts and ideas about the aesthetics of cinema in Notes on the Cinematographer that was published in 1975.
This year again, FilmPolska, the biggest Polish film festival in Germany, is focusing on the art of camera work. We are delighted to welcome the two camera auteurs Jacek Petrycki and Jakub Kijowski to Arsenal on 24, 25 & 29 April. Jacek Petrycki has been active since the 1970s and has become one of Poland’s most famous cameramen. He has shot many feature films with directors such as Krzysztof Kieślowski and Agnieszka Holland; but his main focus is on documentary cinema, in which he has set new standards with over 100 films. By comparison, Jakub Kijowski is still at the beginning of his career; however he has already demonstrated great sensitivity and clarity in the imagery of his first works.
From October 10 to 14, 2012, the Arsenal and the University of the Arts organized the Think:Film – International Experimental Cinema Congress at the Akademie der Künste am Hanseatenweg. In 15 panels with various thematic focuses, the particular position of experimental cinema in artistic and intellectual practice was discussed.
On the occasion of the conference Think:Film No. 2 – What Do We Know When We Know Where Something Is? within the framework of the Berlinale Forum Expanded 2014, the documentation of the congress has now been made accessible in word and image on its own website. Along with video documentation of the individual panels initiated and produced by an accompanying seminar at the University’s film institute, lecture texts and congress background and information have been prepared.
Both in Paris and Brussels selected films from this and last year's Forum program can be seen in April and May, curated and introduced by Birgit Kohler.
From April 3-9 the following films will be shown in the Goethe institute in Paris: HALBSCHATTEN (EVERYDAY OBJECTS) by Nicolas Wackerbarth (Germany 2013), VATERS GARTEN – DIE LIEBE MEINER ELTERN (FATHER'S GARDEN – THE LOVE OF MY PARENTS) by Peter Liechti (Switzerland 2013), AL-KHOROUG LEL-NAHAR (COMING FORTH BY DAY) by Hala Lotfy (Egypt 2013), IRANIEN (IRANIAN) by Mehran Tamadon (France/Switzerland 2014), CASSE (SCRAP YARD) by Nadège Trebal (France 2013), A BATALHA DE TABATÔ (THE BATTLE OF TABATÔ) by João Viana (Guinea-Bissau/Portugal 2013) and SIENIAWKA by Marcin Malaszczak (Poland/Germany 2013).
In Brussels the following programme can be seen at BOZAR on April 24-25 and May 6-7 at the Goethe institute: DAS MERKWÜRDIGE KÄTZCHEN (STRANGE LITTLE CAT by Ramon Zürcher (Germany 2013), A BATALHA DE TABATÔ, I USED TO BE DARKER by Matt Porterfield (USA 2013), CASTANHA by David Pretto (Brasil 2014), SIENIAWKA, SHE'S LOST CONTROL by Anja Marquardt (USA 2014) and AL-KHOROUG LEL-NAHAR.
Sajat Nova The Color of Pomegranates
Sergei Paradshanov USSR 1969
35 mm OV/GeS 73 min