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Articles by Nina de Vroome
This Thing Called Language
In Passage, Sabzian invites film critics, authors, filmmakers and spectators to send a text or fragment on cinema that left a lasting impression. Pour Passage, Sabzian demande à des critiques de cinéma, auteurs, cinéastes et spectateurs un texte ou un fragment qui les a marqués. In Passage vraagt Sabzian filmcritici, auteurs, filmmakers en toeschouwers naar een tekst of een fragment dat ooit een blijvende indruk op hen achterliet. The Prisma section is a series of short reflections on cinema.
Bearing the Consequences
In Passage, Sabzian invites film critics, authors, filmmakers and spectators to send a text or fragment on cinema that left a lasting impression. Pour Passage, Sabzian demande à des critiques de cinéma, auteurs, cinéastes et spectateurs un texte ou un fragment qui les a marqués. In Passage vraagt Sabzian filmcritici, auteurs, filmmakers en toeschouwers naar een tekst of een fragment dat ooit een blijvende indruk op hen achterliet. The Prisma section is a series of short reflections on cinema.
Sacred Strangling Seed
The Seed of the Sacred Fig is the most recent film by Mohammad Rasoulof, whose previous work There is No Evil (2020) earned him several prison sentences. After his last film, the Iranian regime sentenced him to eight years in prison, flogging and the confiscation of his property. Rasoulof subsequently fled his country on foot. Not everyone on the film crew managed to escape. Their fate remains uncertain. Unfortunately, these facts are yet another example of stifled freedoms in a totalitarian system.
Johan van der Keuken, a Writing Filmmaker
In Passage, Sabzian invites film critics, authors, filmmakers and spectators to send a text or fragment on cinema that left a lasting impression. Pour Passage, Sabzian demande à des critiques de cinéma, auteurs, cinéastes et spectateurs un texte ou un fragment qui les a marqués. In Passage vraagt Sabzian filmcritici, auteurs, filmmakers en toeschouwers naar een tekst of een fragment dat ooit een blijvende indruk op hen achterliet. The Prisma section is a series of short reflections on cinema.
The Invisible Film
In Passage, Sabzian invites film critics, authors, filmmakers and spectators to send a text or fragment on cinema that left a lasting impression. Pour Passage, Sabzian demande à des critiques de cinéma, auteurs, cinéastes et spectateurs un texte ou un fragment qui les a marqués. In Passage vraagt Sabzian filmcritici, auteurs, filmmakers en toeschouwers naar een tekst of een fragment dat ooit een blijvende indruk op hen achterliet. The Prisma section is a series of short reflections on cinema.
Wednesday 3 January 2024
https://www.sabzian.be/text/wednesday-3-january-2024 Children’s Games by Francis Alÿs My mother comes to visit me for a few days in Brussels. I show her around my city and take her to see Francis Alÿs’s exhibition Children’s Games at WIELS. As we enter the space, we’re engulfed by children’s voices, as if entering a playground. Hanging in the dark are screens that you can walk between to see the different videos. Each screen shows a game played by children somewhere in the world.
Nina de Vroome | Sabzian
Nina de Vroome (1989) is Dutch filmmaker, teacher and author. She studied film at KASK / School of Arts Ghent and graduated with Waves (2013). Her filmography includes Een idee van de zee [A Sea Change] (2016) and Het geluk van honden [A Dog’s Luck] (2018). Her films were shown at international festivals such as Visions du Réel and International Film Festival Rotterdam. She is a writer and editor for Sabzian. As a teacher she is involved in various educational projects.
After a Long Night | Nina de Vroome
Mattéo Eustachon, Léo Couture and Anton Balekdjian were students at Lyon’s CinéFabrique when they decided to make a film over the summer. That’s how the first part of the Mourir à Ibiza trilogy came about. The film begins with Léna (Lucile Balézeaux) arriving at the Gare d’Arles, when she hesitatingly asks a passer-by for directions. It’s as if the story itself is arriving in this new place and starts to explore the space of the film in progress.
No Vacancy | Nina de Vroome
Article NL EN No Vacancy On the Cinema of Wes Anderson Wes Anderson shares many of my predilections – educational film forms, the photographs of Jacques Henri Lartigue, the Futura typeface, Georges Perec, Benjamin Britten’s children’s operas, Moby-Dick, the Nouvelle Vague, scouting techniques, Jean Painlevé, miniatures made of wood and papier-mâché, lavish interiors, James Baldwin, historical faits divers, Jacques Tati and... enumerations.
An Empty Landscape | Mattijs Driesen, Nina de Vroome
Article NL EN 8.03.2023 An Empty Landscape On France by Bruno Dumont In Bruno Dumont’s latest film, we are introduced to France, a stunningly beautiful news anchor who bears the same name as the film’s title – and the country where the film is set. We meet France and her assistant Lou at a press conference by the French president. Dumont does not exactly try to make his scenes look realistic.
“I have never been a big fan of reality”
A Conversation with David Koepp In May 2018, David Koepp visited Brussels for a talk about his work as a screenwriter and director. As a screenwriter, he is best known for his work on films like Jurassic Park (Steven Spielberg, 1993), Carlito’s Way (Brian De Palma, 1993), Mission: Impossible (Brian De Palma, 1996), Snake Eyes (Brian De Palma, 1998), Panic Room (David Fincher, 2002), Spider-Man (Sam Raimi, 2002) and The Mummy (Alex Kurtzman, 2017).
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