A touching and humorous rollercoaster ride through the European filmmaking world from the 60s to the 90s. The film tells the rise and fall of Pim de la Parra, a crazy, controversial and creative genius, and of his resurrection.
I am Loud I am loud, Demanding attention. I know when I am being charming Because I try. I put on my impressing face And do my impressing hair And speak my impressing words. I tell you my embarrass...
Jan Bergmans's insight:
I am Loud
I am loud, Demanding attention. I know when I am being charming Because I try. I put on my impressing face And do my impressing hair And speak my impressing words. I tell you my embarrassing drinking stories And everything else about me That you probably shouldn’t know.
I am not good at being quiet Because that’s not who I am. I am not the sweet girl Who will leave you with a smile And a touch And a glance Or a single word. There is nothing of this fashion of romance About me.
I am the girl who will point out your flaws, And take you outside to see the stars, And remind you how human you are, And what a wonderful thing that is.
I am the girl who will talk about science, And music and theology and history, And point out constellations, laughing, When you don’t know the big dipper’s name.
I am the girl who will make witty references, To classic literature and science fiction, And will tell you stories of how I once, Made a gingerbread replica of a lighthouse.
I am the girl who will stand on a table, And sing at the top of my lungs on the highway, And act like a chicken or quail or velociraptor, Or muzzle your face like a lion to make a point.
I am the girl who takes too many shots And then hoaxes you to bed on a Russian liver, And knows all the right places to bite, and tease, And follows with exceptionally coherent pillow-talk.
I am not a thin silk scarf on the wind. I am not a thing hard to capture. You would not spend a perilous journey Through a wild, perfumed jungle, Searching for my slender garments Hung beside a pool As I wail to the breeze.
Rather, I am the bird who flies overhead Making too much noise Distracting from the trail ahead. A bird whose plumage proves What an interesting life it must be… What a colorful life for me… Perpetually strange The lone comic relief.
I am many things. But I am not quiet. Of this I am sure.
Twentysomethings can never, ever leave their lovers.
Jan Bergmans's insight:
I have 700 friends on Facebook, 36 of whom I consider exes. Not all are ex-boyfriends—in the eleven years that “boyfriend” has been a name for men in my life, I have referred to nine as “boyfriends.” The rest are men I dated casually, guys I dated disastrously, make-out buddies, one-night stands, vacation flings, and a few boys I never touched but flirted with so heavily they can no longer be categorized as “just friends.” These people aren’t ex-boyfriends but they’re ex-something, weighted with enough personal history to make my stomach drop when they message me or pop up in social-media feeds. Which is pretty often.
There was a time, I am told, when exes lived in Texas and you could avoid them by moving to Tennessee. Cutting ties is no longer so easy—nor, I guess, do we really want it to be. We gorge ourselves on information about the lives of our exes. We can’t help ourselves. There’s the ex who “likes” everything you post. The ex who appears in automated birthday reminders. The ex who appears in your OkCupid matches. The ex whose musical taste you heed on Spotify. The ex whose new girlfriend sent a friend request. The ex you follow so you know how to win him back. The ex you follow so you know how to avoid her in person. The ex you watched deteriorate after the breakup. (Are you guilty or proud?) The ex who finally took your advice, after the breakup. (Are you frustrated or proud?) The ex whose new partner is exactly like you. (Are you flattered or creeped out?) The ex whose name appears as an autocorrection in your phone. (Are you sure you don’t talk about him incessantly? Word recognition suggests otherwise.) The ex whose new partner blogs about their sex life. The ex who still has your naked pictures. The ex who untagged every picture from your relationship. The ex you suspect is reading your e-mail. The ex you watch lead the life you’d dreamed of having together, but seeing it now, you’re so glad you didn’t.
My peers and I have all these exes, in part because we have more time to rack them up before later marriages, because we’re freer about sleeping around, because we’re more comfortable with cross-gender friendships and blurring sexual boundaries, because not committing means keeping more love interests around as possibilities, and because the digital age enables us to never truly break up. We don’t have to shut the door on anything.
Strong ICT, media and creative industry cluster with 37,000 companies, a workforce of almost 300,000 and roughly €30 billion in annual revenueNr. 1 film region with major international productionsDigital metropolis and start-up Mecca for games, Internet, social media, mobile business and IT with the highest founders' rate in the nation (2.67%)Headquarters of Axel Springer AG, Universal Music Germany, Viacom InternationalMedia Networks, Hasso Plattner Institute, Wooga, N24, rbbGermany’s music capital with an annual turnover of €750 millionMost varied newspaper region and Germany’s strongest publishing locationScience and R&D landscape unparalleled in Europe, including the Fraunhofer Heinrich Hertz Institute for News Technology (HHI), 3D Innovation Center, Deutsche Telekom Innovation Laboratories, Alexander von Humboldt Institute for Internet and SocietyLeading German city for higher education and professional trainingStrong financing and support partners in the fields of film, TV and interactive audiovisual mediaInternational event location: Berlinale, German Film Awards, MEDIENWOCHE@IFA, dgt – Deutsche Gamestage, Deutscher Computerspielpreis, Berlin Web Week, re:publica, NEXT Berlin, animago Award, ECHO, Berlin Music Week, DMY International Design Festival, Berlin Fashion Week and Bread & Butter
My name is Tippi. I am African and I was born 10 years ago in Namibia. People who ask me “ Tippi ? Like an indian teepee ? ”, should open their dictionary : mine is spelt with a double P. My parents named me after the american actress Tippi Hendren. She used to play in “ the Birds ”, a frightening Alfred Hitchcock movie.My name is also Okanti, which means “ mongoose ” in the Ovambo language, one of the Namibian tribe. It can seem like a strange idea to call your daughter Mongoose, even if the word “ Okanti ” sounds nice. It is, nevertheless, the beginning of my story……Tippi, Furty‘s godmother :
A startup called Artkick has secured 50,000 digital representations of paintings and photographs from 2,000 museums around the world. It places them on Internet-connected televisions and computer screens.
Jan Bergmans's insight:
Pandora and Spotify are businesses that sort through digital music and figure out your likes. Netflix does the same for movies. There’s even Yelp, doing something like that for food. Meantime, fine art just hangs there on the wall.
Not for much longer, perhaps. A start-up called Artkick has secured 50,000 digital representations of paintings and photographs from 2,000 museums around the world. It places them, via an iOS or Android app, on Internet-connected televisions and computer screens.
The pictures can be switched as often as every minute or as seldom as never. Users can rate what they like, and rotate what’s on the screens based on things like other works by the artist, other paintings from the period or genre, or other offerings from the museum.
“Why not stream images?” said Sheldon Laube, the chief executive of Artkick. “Clothes, music, foods – we change around all sorts of things that give us pleasure. Art has been constrained by being physical.”
These are of course digital representations, not the real thing, but his point that art on your wall not changing is true for the art posters and reproductions in most living rooms. With the ubiquity of digital screens, why shouldn’t they serve a more decorative function?
If nothing else, Artkick illustrates (ahem) a couple of interesting social and business points: For one, we still tend to think TVs should be off when not in use, and computer screens should either be in “sleep” mode, or have a screen saver of some sort. Both of those ideas have to do with extending the lifespan of cathode ray tubes, and today’s digital screens now last longer and use far less energy.”
“It costs about $35 to keep a TV on for a year,” said Mr. Laube, flipping his iPad from Grant Wood’s “American Gothic” to Audobon’s “Birds of America.” A decade ago, he says, “it used to be 10 times that much.”
The other is the plunging costs of devices to make all this work. When, in the 1990s, Bill Gates set to filling his house with digital screens showing art on a rotating basis, the equipment cost more than $100,000, and the art had to be specially photographed.
Now a 32-inch Internet-connected digital TV can be about $350, or what you might pay for the custom framing of an artwork that big. Museums around the world have digitized their collections, and increasingly offer them online. Last year, Amsterdam’s Rijksmuseum began offering what is says will eventually be 150,000 images available for people to download and build their own collections. Printing is also allowed.
‘Capucine’. One word, an icy brand distilled from the warmer ‘Germaine Hélène Irène Lefebvre’. But then her elegance didn’t permit intimacy. And that was her appeal. A snow angel with dazzling detachment.
Who would believe such a thing?
Born 1928. A Parisian model at 17, then into films. She was surprisingly adept at comedy, a genre strangely receptive to manic depressives. Without darkness we can’t know light?
She was saved from suicide more than once, but who would believe such a thing? The cheekbones, the plush lips, swept-back mane, the porcelain skin, who would believe it?
It’s 1952 and she lands a 2-week modeling gig aboard a French cruise ship and shares a cabin with Brigitte Bardot, 17, a chorus dancer. O pillow talk. Who would believe it?
With Peter Sellers
“Men look at me,” she opined, “like I'm a suspicious-looking trunk, and they're customs agents.” There’s a difference between beautiful and pretty — and in the face of beauty men grow wary, weakened by exposure to the spiritual, anxious to resume a cosmetic, manufactured appreciation.
She also said, “"Every time I get in front of a camera, I think of it as an attractive man I am meeting for the first time...” All the best faces know — instinctively it seems — the camera is a mirror in which you
Poor Snow Angel
slowly, with great art and artifice, seduce yourself, make love to the flesh and fear and forget-me-nots that are you. But therein lays disease and finally, after injecting one too many color chemical emulsions at 1/60th of a second — a kind of walking madness. Narcissus didn’t drown. He couldn’t tolerate the terrible pain of perfection — even his own.
So in 1990, she ended herself. A bi-polar decision lending a polar patina of white frost spangled like sapphires trailing the gorgeous curve of her neck.
The word 'Capucine' is French and refers to flowers. But poor snow angels, they never live to see spring.
Chamber music courses and festival in Belgium for young talented musicians, violin, viola, cello and piano. International guest artists, Maisky, Vengerov Badura-Skoda
Jan Bergmans's insight:
MUSICA MUNDI is an International chamber music course and Festival for young talents aged 10-18. Now in it's 15th year, it was created in order to help young talents develop their own unique personalities, and to enable them to meet musicians at the top of their profession.
Among those Artists who have participated in the Musica Mundi International chamber music course and Festival, are Maxim Vengerov, Mischa Maisky ,Gidon Kremer, Ivry Gitlis, Katia & Marielle Labèque, Heinrich Schiff, Leif Ove Andsnes, Paul Badura-Skoda, Itamar Golan, King’s Singers, Petersen string quartet, Talich string quartet, St.Petersburg string quartet, to name a few.
Sick of buying 100 channels to get the one you want? Solution: Be Canadian.
Jan Bergmans's insight:
Canada's government may soon require cable and satellite providers to unbundle TV packages, letting customers choose each channel they want individually.
"We don't think it's right for Canadians to have to pay for bundled television channels that they don't watch. We want to unbundle television channels and allow Canadians to pick and pay the specific television channels that they want," Canada Industry Minister James Moore said in a TV appearance, according to Reuters.
Moore is a member of Canada's Parliament and was appointed Minister of Industry in July of this year. In the next parliamentary session, he said the government will consider additional pro-consumer moves such as preventing airline overbooking and lowering the roaming rates charged by cellular providers.
Reuters noted that "[s]ome Canadian cable and satellite television providers have already begun to offer so-called 'a la carte' pricing."
Channel unbundling would be welcome in the US, too, of course. US Sen. John McCain (R-AZ) has been advocating this for years, most recently with the proposed Television Consumer Freedom Act. The bill would not require unbundling, but it would provide incentives that encourage providers to offer channels individually. For now, bundling is what's available to US consumers because it's the system that is most lucrative for TV providers.
Met een knipoog naar een van de meest hardnekkige clichés die over de Nederlandse film bestaat, presenteert het NFF het hoofdprogramma Naakt.
Jan Bergmans's insight:
Met een knipoog naar een van de meest hardnekkige clichés die over de Nederlandse film bestaat, presenteert het Nederlands Film Festival (NFF) het hoofdprogramma Naakt. Van de bevrijdende seksgolf in de jaren zeventig tot de schoonheid en kwetsbaarheid van kunstzinnig naakt. Maar ook de blootgelegde ziel en opgeofferde privacy worden belicht, in woord, inbeeld en in spannende ontmoetingen en evenementen.
Het NFF vertoont vijftien films waar blootgeven in al zijn facetten centraal staat: BEGRIJP JE NU WAAROM IK HUIL? (Louis van Gasteren, 1969), HET DRIELANDENPUNT (Frans Bromet, 1974), SPETTERS (Paul Verhoeven, 1980), VAN DE KOELE MEREN DES DOODS (Nouchka van Brakel, 1982), ROMEO (Rita Horst, 1991), INTERVIEW (Theo van Gogh, 2003), IK EN MIJN OUDERS – MIJN OUDERS EN IK (Gerrit van Elst, 2004), PAPA IS WEG EN IK WILDE NOG WAT VRAGEN (Marijn Frank, 2007), KAN DOOR HUID HEEN (Esther Rots,2009), CONGO BUSINESS CASE (Hans Bouma, 2013), PARTS OF A FAMILY (Diego Gutierrez, 2013), BLOOT (Paul Cohen, 2013), NIEUWE TIETEN (Sascha Polak, 2013)en DEAD BODY WELCOME (Kees Brienen, 2013).
Ode aan Sylvia Kristel Binnen het hoofdthema brengt het NFF een speciaal programma rond het vorig jaar overleden icoon Sylvia Kristel. Uiteraard met de softerotische klassieker EMMANUELLE, maar ook Wim Verstappens PASTORALE 1943 en Pim de la Parra’s FRANK& EVA; LIVING APART TOGETHER ontbreken niet, evenals beeldende kunst van haar eigen hand. Ook Michiel van Erps documentaire SYLVIA KRISTEL: NU wordt vertoond. Het programma is samengesteld met medewerking van Hans Heesen, Jan Doense, Henriëtte Hoogenboezem en Lex Veerkamp.
Schande! Veel van de spraakmakende taboedoorbrekers van vroeger hebben nu een behoorlijke cultfactor. Hoe controversieel zijn ze nog, in het tijdperk van VIJFTIG TINTEN GRIJS en hitsige hiphopclips? Voor, tijdens en na de double bill vertoning van Pim de la Parra’s MIJN NACHTEN MET SUSAN, OLGA, ALBERT, JULIE, PIET & SANDRA (1975) en Cyrus Frisch’ VERGEEF ME (2001) laten experts en ervaringsdeskundigen er – samen met het publiek – hun licht over schijnen.
Ohlala Davy’s Erotheek is de allerlaatste seksbioscoop van Utrecht en al decennialang een begrip bij de liefhebbers van erotische hoogstandjes. De erotheek opent speciaal voor het NFF de deuren en vertoont voor de gelegenheid niet de gebruikelijke pornofilms,maar een speciaal samengesteld compilatieprogramma waarin de schoonheid en kwetsbaarheid van het naakte lichaam centraal staan.
Chin Up, Head Down Theatermaker, kostuumontwerper en fotograaf Miek Uittenhout liet twintig Nederlandse acteurs en actrices voor haar camera plaatsnemen. Het leverde twintig dubbelportretten op waarin onder anderen Gouden Kalf-winnaars Sylvia Hoeks, Barry Atsma en Martijn Lakemeier zich van hun sterkste én zwakste kant laten zien. De foto’s worden geëxposeerd tijdens het NFF in galerie KuuB.
Ook een expo van Rob’s Propshop, gespecialiseerd in make-up effects, creature effects, animatronics en special props in het Festivalpaviljoen en het Grote Doen-Alsof-Feest met o.a. de vertoning van THEO EN THEA EN DE ONTMASKERING VAN HET TENENKAASIMPERIUM vallen onder het hoofdthema Naakt.
Lees meer over het hoofdthema in het NFF Magazine.
Early in 2013, a year of celebration in Dutch-Russian relations, the Hermitage Amsterdam will present a major exhibition devoted to Peter the Great (1672–1725), the modernizer of Russia. The exhibition will paint a picture of this unconventional, inspired and inquisitive Russian tsar, who by the time he took power at the age of 17 was determined to transform his country. His achievements include reforming the military and the church, expanding trade and industry, and improving education and public health. He turned Russia into a great European power with a brand-new capital city: St Petersburg, his “window on the West.” With historical artefacts, paintings, gold jewellery from the ancient world, weapons and unique documents, the exhibition will sketch the life of this peerless ruler. From his youth Peter collected art, including a Rembrandt, planting the seed for St Petersburg’s later Hermitage collection. An enthusiastic traveller, he went two visits to Western Europe, including the Dutch Republic. It was the city of Amsterdam, in particular, that inspired him to found his new capital.
Dropping the Soap for a Happy EndingJuly 2, 2013 7:55 AM ⋅ Leave a Comment ⋅ Jim
…alright – so maybe not full on happy, but happier.
I confess that I have a bit of a dark side. I suspect that this sullen shadow is cast on a certain plane of my spirit’s surface for a number of reasons. The evidence of its gloomy existence, however, is most often apparent in my less than optimistic attitude regarding the possibility of any kind of blissful longevity for the whole of mankind. You see there is a part of me – this dark side – that believes that we are doomed. I’m not sure why. Perhaps it is because I see how we address, or ignore, the ramifications of our ever-expanding consumptive existence on this extremely finite cosmic fleck of terra nova that we call Earth. Maybe it is because I have repeatedly witnessed, or been victim to, insidious injustice and blatant discrimination rendered by my fellow humans. Or it could be because, in addition to continuing to slaughter each other in the name of some exalted God or another, we also seem contented to abuse and disrespect the myriad other creatures who also just happen to call this decaying ball of dirt their home. Certainly my faith in humanity ebbs and flows, but even at its highest points the depth of my confidence in our eventual salvation has never required a snorkel, or hip boots, or even a pair of galoshes.
Now I would like to think that this view that I have of the world through rusty colored glasses makes me appear to be romantically tortured, or deep thinking in some way – like a middle-aged, simmering emo of sorts – but it doesn’t. What it does do is: it influences how I make decisions about my life, it makes me a bummer to sit next to at a dinner party, and it sometimes manages – just now and then – to bleed its way into my writing. The latter is certainly true regarding a play that I began crafting during my first semester of graduate school, Fray. Simply put, Fray tells the story of a man and his pregnant wife who are struggling to salvage their relationship in the aftermath of mutual infidelities. The first draft ended with a bloody miscarriage – right there – on stage. Yeah. It was – well allow me to understate – it was bleak. About a year later, after Obama had been elected to his first term, the play was chosen as a semi-finalist for the Eugene O’Neill Playwrights Conference and I revisited the script. At this stage in its life cycle the narrative ended sans blood, but there was an eleventh hour revelation – the wife was not sure if her husband was actually the father of the unborn child. Decidedly less bleak – but still no Barefoot in the Park.
Hier finden Sie alle Pressemitteilungen auf einen Blick, die Reden von bpb-Präsident Thomas Krüger und das Lokaljournalisten- Programm der bpb.
Jan Bergmans's insight:
Wer, was, wann, wo, wie, warum? Regelmäßige Presseinformationen zu allen Angeboten der Bundeszentrale für politische Bilung. Von A wie "APuZ" bis Z wir "Zeitbilder". Alle Pressemitteilungen und Einladungen zu Pressekonferenzen auf einen Blick. Weiter...