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Bresson: director who was not actually a director, Catholic who was not actually a Catholic, painter who was not actually a painter, and yet he was all three, at the same time. We see people paying attention, raising on their feet to look over the people in front of them, ostensibly, but rather it is a hope to be able to control what they cannot control. We hear running, the whooshing sound of hooves in the sand, a man shouting who is running in the lead, who is being overtaken, where things are going wrong. A man stands with his back to the horse racing and, like us, facing the people. He is looking for someone who is so enchanted by what happens on the racetrack that he - or she - forgets himself completely. That's the victim he needs. His money he can secretly take from his pocket. More on that later. This scene, we hear everything, see only the people.

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Because we love great films


Film. When done well, it can perhaps be counted as the highest art form. It is just such a pity that it is rarely done so well. At least, it seems that way because of the Hollywood violence. Still gems are released every day; about rough life in Anatolia, grief counseling or toilet cleaning in Japan, terrorism in Paris or the search for God in the southern United States - sure, exceptional films still come from there, too. Best of all: films don't have to be current. So even films from the 1940s can still be of value, revisited.

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Hard to find, those films, and then when you have watched them, hard to read, in the Netherlands, nice articles about them. We hope, in all humility, to bring a little order to the chaos. Old or new films, Dutch or in unintelligible languages, about love, death, God, loneliness, disappointment and happiness, we will discuss them. Every week.

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Our heroes - so you already know who you are dealing with -? Bresson, Melville, Godard, Ozu, Malick, Tarr, Wenders, Haneke, Scorsese & Paul Schrader - you miss Nolan? True, and later we'll explain why that is.

FILMKRITIEK

film@kritiek.nl

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