BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:26818@offbeat.amsterdam SUMMARY:CiNEMERCATOR - Beautiful Day 2012 DTSTAMP:20260829T021346Z DTSTART:20260902T180000Z 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\n2-9\n\nDon Hertzfeldt\n \nIt's such a Beautiful Day\n\n2012\n\nDon Hertzfeldt’s It’s Such a Beauti ful Day looks almost aggressively simple:\nstick figures\, sparse black-an d-white drawings\, a narrator describing the small\nevents in one man’s li fe. But gradually\, almost without announcing what it is\ndoing\, the film opens into something enormous.\n\nBill is an ordinary man whose mind is b eginning to fail him. Hertzfeldt never\nturns this into a conventional sto ry about illness. Instead\, we experience the\nworld increasingly through Bill’s unstable perception: memories become\nunreliable\, time jumps\, ins ignificant observations suddenly feel profound\, and\nmoments of terror si t directly beside absurd jokes. The film is very funny\,\noften in places where it probably shouldn’t be\, and that humour keeps it from\nbecoming s entimental.\n\nHertzfeldt made the film almost entirely by himself: writin g\, directing\,\nanimating\, photographing\, editing and narrating it. He first became known for\nextremely minimal\, darkly comic animated shorts\, most famously the\nOscar-nominated Rejected (2000).\n\nThe title could ea sily have been ironic. By the end\, it isn’t. It’s Such a\nBeautiful Day i s interested in beauty precisely because life is temporary\,\nconfusing an d frequently ridiculous...\n\nThis film is chosen by Andreas\n[https://www .supermercator.nl/cinemercator/team-cinemercator]\n\n9-9\n\nMichael Radfor d\n\n1984\n\n1984\n\nMichael Radford’s 1984 is a remarkably faithful adapt ation of George Orwell’s\nfinal novel\, published in 1949.\n\nOrwell wrote Nineteen Eighty-Four in the aftermath of fascism\, Stalinism and the\nSec ond World War\, while seriously ill with tuberculosis. He was interested n ot\nsimply in dictatorship\, but in the mechanisms through which power bec omes\npermanent. His great insight was that controlling people’s actions i s not\nenough\; absolute power requires control over memory\, language and eventually\nreality itself.\n\nRadford stays very close to this idea. Win ston Smith works at the Ministry of\nTruth\, altering old newspapers so th at the past always agrees with whatever the\nParty currently says. His reb ellion begins with something tiny: he starts a\ndiary. From there\, rememb ering\, writing\, having sex and falling in love all\nbecome political act s\, because they create experiences that belong to the\nindividual rather than the state.\n\nRadford made the unusual decision to shoot the film dur ing the exact period in\nwhich Orwell set the novel: April to June 1984. T his gives the adaptation an\ninteresting relationship with its source. Orw ell had imagined a future\, but by\nthe time Radford filmed it\, that futu re had arrived. Instead of asking whether\nOrwell had accurately predicted 1984\, the film asks a more interesting\nquestions: how much of what he w arned about had already become recognizable?\nWhat happens when power gain s control over the shared facts people need- in\norder to disagree with it ? How do you defend reality when you can no longer\nprove that it exists?\ n\nThis film is chosen by Maaike\n[https://www.supermercator.nl/cinemercat or/team-cinemercator]\n\n16-9\n\nStanley Kubrik\n\n1984\n\n1999\n\n'Perhap s intimacy begins when we stop pretending we can ever completely possess\n or understand the person beside us.'\n\nStanley Kubrick’s Eyes Wide Shut b egins with a marriage and slowly turns it into\na mystery. Tom Cruise and Nicole Kidman play Bill and Alice Harford\, a wealthy\nNew York couple who se comfortable relationship is disturbed when Alice admits\nthat she once fantasised about leaving Bill for another man. Nothing actually\nhappened\ , but for Bill the thought is enough. He walks out into the city and\nspen ds the night drifting through a succession of sexual encounters\, imagined \npossibilities and increasingly strange rooms.\n\nIt was Kubrick’s final film\, based on Arthur Schnitzler’s 1926 novella\nTraumnovelle (Dream Stor y). Kubrick and screenwriter Frederic Raphael moved the\nstory to contempo rary New York while keeping its dream structure. New York\nitself was larg ely recreated on sets in England. The result is recognisable but\nnever co mpletely convincing- which is precisely right for the film. Bill travels\n through the city as if moving through his own unconscious. Doors open too\ neasily\, strangers appear at exactly the right moment\, conversations fee l\nslightly unreal.\n\nKubrick was famous for long productions and obsessi ve control\, and Eyes Wide\nShut became an extreme example: principal phot ography lasted well over a year\,\ncontributing to its reputation as one o f the longest continuous film shoots.\nKubrick died in March 1999\, only d ays after showing a cut of the film to Cruise\nand Kidman. It was released that summer.\n\nThis film is chosen by Merthe\n[https://www.supermercator .nl/cinemercator/team-cinemercator]\n\nDo you want to receive our\n\nmonth ly program? [https://youtu.be/OIih0YACWRI?is=pOLH3tbmPz50rSOg]\n\nSend 'sh ow me your movies' to [cinemercator@gmail.com]:\n\ncinemercator@gmail.com [cinemercator@gmail.com]\n\narchive [https://www.supermercator.nl/cinemerc ator/cinemercator-a-r-c-h-i-v-e] URL:https://offbeat.amsterdam/event/cinemercator-beautiful-day-2012 GEO:52.3689648;4.8512865 LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-west,de-baarsjes,film,oud-west,party,shorts,stories 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€

2-9

Don Hertzfeld t

It's such a Beautiful Day

2012

Don Hertzfeldt’s It ’s Such a Beautiful Day looks almost aggressively simple: stick figur es, sparse black-and-white drawings, a narrator describing the small event s in one man’s life. But gradually, almost without announcing what it is d oing, the film opens into something enormous.

Bill is an ordinary ma n whose mind is beginning to fail him. Hertzfeldt never turns this into a conventional story about illness. Instead, we experience the world increas ingly through Bill’s unstable perception: memories become unreliable, time jumps, insignificant observations suddenly feel profound, and moments of terror sit directly beside absurd jokes. The film is very funny, often in places where it probably shouldn’t be, and that humour keeps it from becom ing sentimental.

Hertzfeldt made the film almost entirely by himself : writing, directing, animating, photographing, editing and narrating it. He first became known for extremely minimal, darkly comic animated shorts, most famously the Oscar-nominated Rejected (2000).

The ti tle could easily have been ironic. By the end, it isn’t. It’s Such a B eautiful Day is interested in beauty precisely because life is tempor ary, confusing and frequently ridiculous...

This film is chosen by < a href="https://www.supermercator.nl/cinemercator/team-cinemercator">Andre as

9-9

Michael Radford

1984

1984

Michael Radford’s 1984 is a remarkably faithful adaptation of George Orw ell’s final novel, published in 1949.

Orwell wrote Nineteen Eig hty-Four in the aftermath of fascism, Stalinism and the Second World War, while seriously ill with tuberculosis. He was interested not simply i n dictatorship, but in the mechanisms through which power becomes permanen t. His great insight was that controlling people’s actions is not enough; absolute power requires control over memory, language and eventually reali ty itself.

Radford stays very close to this idea. Winston Smith work s at the Ministry of Truth, altering old newspapers so that the past alway s agrees with whatever the Party currently says. His rebellion begins with something tiny: he starts a diary. From there, remembering, writing, havi ng sex and falling in love all become political acts, because they create experiences that belong to the individual rather than the state.

Rad ford made the unusual decision to shoot the film during the exact period i n which Orwell set the novel: April to June 1984. This gives the adaptatio n an interesting relationship with its source. Orwell had imagined a futur e, but by the time Radford filmed it, that future had arrived. Instead of asking whether Orwell had accurately predicted 1984, the film asks a more interesting questions: how much of what he warned about had already become recognizable? What happens when power gains control over the shared facts people need- in order to disagree with it? How do you defend reality when you can no longer prove that it exists?

This film is chosen by Maaike

16-9

Stanley Kubrik

1984

1999

'Perhap s intimacy begins when we stop pretending we can ever completely possess o r understand the person beside us.'

Stanley Kubrick’s Eyes Wide Shut begins with a marriage and slowly turns it into a mystery. Tom Cruise and Nicole Kidman play Bill and Alice Harford, a wealthy New Yo rk couple whose comfortable relationship is disturbed when Alice admits th at she once fantasised about leaving Bill for another man. Nothing actuall y happened, but for Bill the thought is enough. He walks out into the city and spends the night drifting through a succession of sexual encounters, imagined possibilities and increasingly strange rooms.

It was Kubric k’s final film, based on Arthur Schnitzler’s 1926 novella Traumnovelle (Dream Story). Kubrick and screenwriter Frederic Raphael mo ved the story to contemporary New York while keeping its dream structure. New York itself was largely recreated on sets in England. The result is re cognisable but never completely convincing- which is precisely right for t he film. Bill travels through the city as if moving through his own uncons cious. Doors open too easily, strangers appear at exactly the right moment , conversations feel slightly unreal.

Kubrick was famous for long p roductions and obsessive control, and Eyes Wide Shut became an ex treme example: principal photography lasted well over a year, contributing to its reputation as one of the longest continuous film shoots. Kubrick d ied in March 1999, only days after showing a cut of the film to Cruise and Kidman. It was released that summer.

This film is chosen by Merthe< /p>

Do you want to receive our

monthly program?

Send 'show me your m ovies' to:

cinemercator@gmail.com

archive

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