BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:27795@offbeat.amsterdam SUMMARY:CiNEMERCATOR - Alfred Hitchcok ROPE 1948 DTSTAMP:20260924T204206Z DTSTART:20260930T180000Z DESCRIPTION:Filmlover\,\n\n4 cinephiles: [https://www.supermercator.nl/cine mercator/team-cinemercator]\n\nMerthe Voorhoeve\,\n\nAndreas van Riet\,\n\ nMaaike Hasselaar\n\n& Elisabeth van Vliet\,\n\neach are programming 1 pre cious film per month. That's 4 precious films per\nmonth!\n\nCiNEMERCATOR\ n\ndoors open 19:00\n\nstart 20:00\n\nticket 3€\n\n30-9\n\nAlfred Hitchcok \n\nROPE\n\n1948\n\nThere is a corpse\, a length of rope and an apartment in which nobody seems to\nconsider the obvious solution: opening a window and taking a very long breath.\n\nTwo young men\, Brandon and Phillip have murdered a former classmate. Not out of\npassion\, revenge or self-defenc e\, but as an intellectual exercise. They want to\nprove that certain supe rior people might have the right to kill inferior ones.\nThen they throw a dinner party. This is roughly the equivalent of robbing a bank\nand invit ing the police over for champagne afterwards.\n\nThe real brilliance of Ro pe lies less in the plot than in its spatial trap.\nAlmost the entire film takes place inside one apartment. Hitchcock’s camera\ndrifts through the rooms\, passing behind characters and pieces of furniture\,\ncreating the sensation that the whole thing is happening in one continuous take.\nOf co urse it isn't. The cuts are simply disguised. The film is\, in a sense\,\n lying about its own construction- which is rather appropriate for a story about\npeople trying to construct their own reality.\n\nWhat makes Rope so deliciously uncomfortable is that the murderers don't\nultimately collaps e because their grand philosophy is defeated in some\nspectacular intellec tual duel. They collapse because human beings are terrible\nat maintaining a perfect fiction. They sweat. They drink. They contradict\nthemselves. T hey become vain. They say too much.\n\nRope is not a flawless film. Its th eatricality occasionally becomes very visible\nand its technical experimen t can feel like an experiment. But that artificiality\nis also what makes it fascinating. Hitchcock doesn't try to hide the fact that\nwe're watchin g a constructed stage. He turns the apartment into a kind of\npressure cha mber\, where every movement and every pause acquires suspicious\nsignifica nce. The murderers have hidden the body. Hitchcock has hidden the cuts.\nE ventually\, you realise that both are becoming increasingly difficult to k eep\nhidden.\n\nThis film is chosen by Elisabeth\n[https://www.supermercat or.nl/cinemercator/team-cinemercator]\n\n1-10\n\nMichelangelo Antonioni\n\ nL'Avventura\n\n1960\n\nMichelangelo Antonioni\, one of the great architec ts of modern European cinema\,\nhad little interest in making films behave properly. After beginning in the\norbit of Italian neorealism\, he gradua lly turned his attention away from social\nreality and towards the private landscapes of disconnection\, desire and boredom.\nL’Avventura (1960) is the film where that language fully crystallises\; the first\npart of the l oose trilogy completed by La notte and L’eclisse.\n\nIt begins with a disa ppearance and then\, rather perversely\, loses interest in\nsolving it. An na vanishes from a small island\; her friends search for her\, but\nthe re al subject gradually becomes the strange emotional vacuum her absence\nexp oses.\n\nAntonioni’s revolution is almost embarrassingly simple: he lets n othing happen\nfor long enough that we are forced to notice everything els e. Architecture\,\nbodies\, silences\, the geometry of a room- all become more expressive than\ndialogue. Monica Vitti and Gabriele Ferzetti move th rough the film like people\ntrying to remember what desire is supposed to feel like.\n\nIt’s often called a film about alienation\, which is true bu t not quite\nsufficient. L’Avventura is less interested in loneliness than in the peculiar\nboredom of people who can no longer tell what they want. The missing woman\nbecomes almost incidental. What disappears instead is certainty about love\,\nmorality\, narrative- even cinema itself.\n\nNo wo nder the film caused such a stir at Cannes in 1960\, where it received the \nJury Prize. Antonioni had made a mystery in which the mystery itself slo wly\nbecomes irrelevant. And he is perfectly happy to leave the hole open. \n\nThis film is chosen by Andreas\n[https://www.supermercator.nl/cinemerc ator/team-cinemercator]\n\nDo you want to receive our\n\nmonthly program? [https://youtu.be/OIih0YACWRI?is=pOLH3tbmPz50rSOg]\n\nSend 'show me your m ovies' to [cinemercator@gmail.com]:\n\ncinemercator@gmail.com [cinemercato r@gmail.com]\n\narchive [https://www.supermercator.nl/cinemercator/cinemer cator-a-r-c-h-i-v-e] URL:https://offbeat.amsterdam/event/cinemercator-alfred-hitchcok-rope-1948 GEO:52.3689648;4.8512865 LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-west,de-baarsjes,dinner,film,opening,oud-west,party,st ories X-ALT-DESC;FMTTYPE=text/html:

Filmlover,

4 cinephiles:

Mer the Voorhoeve,

Andreas van Riet,

Maaike Hasselaar

&am p; Elisabeth van Vliet,

each are programming 1 precious film per mon th. That's 4 precious films per month!

CiNEMERCATOR

doors ope n 19:00

start 20:00

ticket 3€

30-9

Alfred Hitch cok

ROPE

1948

There is a corpse, a length of rope and an apartment in which nobody seems to consider the obvious solution: opening a window and taking a very long breath.

Two young men, Brandon and Phillip have murdered a former classmate. Not out of passion, revenge or s elf-defence, but as an intellectual exercise. They want to prove that cert ain superior people might have the right to kill inferior ones. Then they throw a dinner party. This is roughly the equivalent of robbing a bank and inviting the police over for champagne afterwards.

The real brillia nce of Rope lies less in the plot than in its spatial trap. Almos t the entire film takes place inside one apartment. Hitchcock’s camera dri fts through the rooms, passing behind characters and pieces of furniture, creating the sensation that the whole thing is happening in one continuous take. Of course it isn't. The cuts are simply disguised. The film is, in a sense, lying about its own construction- which is rather appropriate for a story about people trying to construct their own reality.

What ma kes Rope so deliciously uncomfortable is that the murderers don't ultimately collapse because their grand philosophy is defeated in some sp ectacular intellectual duel. They collapse because human beings are terrib le at maintaining a perfect fiction. They sweat. They drink. They contradi ct themselves. They become vain. They say too much.

Rope is not a flawless film. Its theatricality occasionally becomes very visible and its technical experiment can feel like an experiment. But that artific iality is also what makes it fascinating. Hitchcock doesn't try to hide th e fact that we're watching a constructed stage. He turns the apartment int o a kind of pressure chamber, where every movement and every pause acquire s suspicious significance. The murderers have hidden the body. Hitchcock h as hidden the cuts. Eventually, you realise that both are becoming increas ingly difficult to keep hidden.

This film is chosen by Elis abeth

1-10

Michelangelo Antonioni

L'Avventura

1960

Michelangelo Antonioni, one of the great architects of mod ern European cinema, had little interest in making films behave properly. After beginning in the orbit of Italian neorealism, he gradually turned hi s attention away from social reality and towards the private landscapes of disconnection, desire and boredom. L’Avventura (1960) is the fil m where that language fully crystallises; the first part of the loose tril ogy completed by La notte and L’eclisse.

It begins with a disappearance and then, rather perversely, loses interest in solvi ng it. Anna vanishes from a small island; her friends search for her, but the real subject gradually becomes the strange emotional vacuum her absenc e exposes.

Antonioni’s revolution is almost embarrassingly simple: h e lets nothing happen for long enough that we are forced to notice everyth ing else. Architecture, bodies, silences, the geometry of a room- all beco me more expressive than dialogue. Monica Vitti and Gabriele Ferzetti move through the film like people trying to remember what desire is supposed to feel like.

It’s often called a film about alienation, which is true but not quite sufficient. L’Avventura is less interested in lone liness than in the peculiar boredom of people who can no longer tell what they want. The missing woman becomes almost incidental. What disappears in stead is certainty about love, morality, narrative- even cinema itself.

No wonder the film caused such a stir at Cannes in 1960, where it rece ived the Jury Prize. Antonioni had made a mystery in which the mystery its elf slowly becomes irrelevant. And he is perfectly happy to leave the hole open.

This film is chosen by Andreas

Do you want to receive o ur

monthly program?

Send 'show me your movies' to:

cinemercator@gmail.com

archive

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