BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:27592@offbeat.amsterdam SUMMARY:CiNEMERCATOR - Louis Theroux My Scientology Movie 2015 DTSTAMP:20260918T204137Z DTSTART:20260923T180000Z 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\n23-9\n\nLouis Theroux\n \nMy Scientology Movie\n\n2015\n\nLouis Theroux has always been drawn to p eople who inhabit their own private\nweather systems. Before My Scientolog y Movie\, his documentaries had already made\na speciality of entering str ange subcultures without quite knowing whether he\nwas interviewing them o r being absorbed by them. His method is deceptively mild\;\ncuriosity as a kind of soft instrument of pressure.\n\nIn My Scientology Movie\, directe d by John Dower\, that method meets an\norganisation whose doors are famou sly difficult to open. When Scientology\nrefuses Theroux access\, he does something characteristically mischievous\; he\nreconstructs it from the ou tside\, employing actors\, former members and the\nfilmmaker Adam S. Meyer to stage scenes of Scientology life. The imitation\nbecomes the investiga tion.\n\nThis gives the film its peculiar\, almost Kafkaesque energy. Agai n and again\,\nTheroux discovers that reality is less stable than the perf ormance designed to\nrepresent it. His replicas are sometimes absurd\, som etimes unsettling\; meanwhile\nthe refusal to participate becomes its own kind of presence.\n\nThe result is not a comprehensive examination of Scie ntology so much as a film\nabout what happens when an institution refuses to be filmed. Theroux's gentle\nbewilderment becomes the central instrumen t. He does not break through the wall.\nHe walks around it\, tapping exper imentally\, until the wall begins to sound\nhollow.\n\nThis film is chosen by Maaike\n[https://www.supermercator.nl/cinemercator/team-cinemercator]\ 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 s olution: opening a window and taking a very long breath.\n\nTwo young men\ , Brandon and Phillip have murdered a former classmate. Not out of\npassio n\, revenge or self-defence\, but as an intellectual exercise. They want t o\nprove that certain superior people might have the right to kill inferio r ones.\nThen they throw a dinner party. This is roughly the equivalent of robbing a bank\nand inviting the police over for champagne afterwards.\n\ nThe real brilliance of Rope lies less in the plot than in its spatial tra p.\nAlmost the entire film takes place inside one apartment. Hitchcock’s c amera\ndrifts through the rooms\, passing behind characters and pieces of furniture\,\ncreating the sensation that the whole thing is happening in o ne continuous take.\nOf course it isn't. The cuts are simply disguised. Th e film is\, in a sense\,\nlying about its own construction- which is rathe r appropriate for a story about\npeople trying to construct their own real ity.\n\nWhat makes Rope so deliciously uncomfortable is that the murderers don't\nultimately collapse because their grand philosophy is defeated in some\nspectacular intellectual duel. They collapse because human beings ar e terrible\nat maintaining a perfect fiction. They sweat. They drink. They contradict\nthemselves. They become vain. They say too much.\n\nRope is n ot a flawless film. Its theatricality occasionally becomes very visible\na nd its technical experiment can feel like an experiment. But that artifici ality\nis also what makes it fascinating. Hitchcock doesn't try to hide th e fact that\nwe're watching a constructed stage. He turns the apartment in to a kind of\npressure chamber\, where every movement and every pause acqu ires suspicious\nsignificance. The murderers have hidden the body. Hitchco ck has hidden the cuts.\nEventually\, you realise that both are becoming i ncreasingly difficult to keep\nhidden.\n\nThis film is chosen by Elisabeth \n[https://www.supermercator.nl/cinemercator/team-cinemercator]\n\n1-10\n\ nMichelangelo Antonioni\n\nL'Avventura\n\n1960\n\nMichelangelo Antonioni\, one of the great architects of modern European cinema\,\nhad little inter est in making films behave properly. After beginning in the\norbit of Ital ian neorealism\, he gradually turned his attention away from social\nreali ty and towards the private landscapes of disconnection\, desire and boredo m.\nL’Avventura (1960) is the film where that language fully crystallises\ ; the first\npart of the loose trilogy completed by La notte and L’eclisse .\n\nIt begins with a disappearance and then\, rather perversely\, loses i nterest in\nsolving it. Anna vanishes from a small island\; her friends se arch for her\, but\nthe real subject gradually becomes the strange emotion al vacuum her absence\nexposes.\n\nAntonioni’s revolution is almost embarr assingly simple: he lets nothing happen\nfor long enough that we are force d to notice everything else. Architecture\,\nbodies\, silences\, the geome try of a room- all become more expressive than\ndialogue. Monica Vitti and Gabriele Ferzetti move through the film like people\ntrying to remember w hat desire is supposed to feel like.\n\nIt’s often called a film about ali enation\, which is true but not quite\nsufficient. L’Avventura is less int erested in loneliness than in the peculiar\nboredom of people who can no l onger tell what they want. The missing woman\nbecomes almost incidental. W hat disappears instead is certainty about love\,\nmorality\, narrative- ev en cinema itself.\n\nNo wonder the film caused such a stir at Cannes in 19 60\, where it received the\nJury Prize. Antonioni had made a mystery in wh ich the mystery itself slowly\nbecomes irrelevant. And he is perfectly hap py to leave the hole open.\n\nThis film is chosen by Andreas\n[https://www .supermercator.nl/cinemercator/team-cinemercator]\n\nDo you want to receiv e our\n\nmonthly program? [https://youtu.be/OIih0YACWRI?is=pOLH3tbmPz50rSO g]\n\nSend 'show me your movies' to [cinemercator@gmail.com]:\n\ncinemerca tor@gmail.com [cinemercator@gmail.com]\n\narchive [https://www.supermercat or.nl/cinemercator/cinemercator-a-r-c-h-i-v-e] URL:https://offbeat.amsterdam/event/cinemercator-louis-theroux-my-scientolo gy-movie-2015 GEO:52.3689648;4.8512865 LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-west,de-baarsjes,dinner,documentary,film,opening,oud-w est,party,performance,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€

23-9

Louis Therou x

My Scientology Movie

2015

Louis Theroux has always bee n drawn to people who inhabit their own private weather systems. Before My Scientology Movie, his documentaries had already made a speciali ty of entering strange subcultures without quite knowing whether he was in terviewing them or being absorbed by them. His method is deceptively mild; curiosity as a kind of soft instrument of pressure.

In My Scien tology Movie, directed by John Dower, that method meets an organisati on whose doors are famously difficult to open. When Scientology refuses Th eroux access, he does something characteristically mischievous; he reconst ructs it from the outside, employing actors, former members and the filmma ker Adam S. Meyer to stage scenes of Scientology life. The imitation becom es the investigation.

This gives the film its peculiar, almost Kafka esque energy. Again and again, Theroux discovers that reality is less stab le than the performance designed to represent it. His replicas are sometim es absurd, sometimes unsettling; meanwhile the refusal to participate beco mes its own kind of presence.

The result is not a comprehensive exam ination of Scientology so much as a film about what happens when an instit ution refuses to be filmed. Theroux's gentle bewilderment becomes the cent ral instrument. He does not break through the wall. He walks around it, ta pping experimentally, until the wall begins to sound hollow.

Thi s film is chosen by Maaike

30-9

Alfred Hitchcok< /p>

ROPE

1948

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

Two young men, Brandon and Phil lip have murdered a former classmate. Not out of passion, revenge or self- defence, but as an intellectual exercise. They want to prove that certain superior people might have the right to kill inferior ones. Then they thro w a dinner party. This is roughly the equivalent of robbing a bank and inv iting the police over for champagne afterwards.

The real brilliance of Rope lies less in the plot than in its spatial trap. Almost th e entire film takes place inside one apartment. Hitchcock’s camera drifts through the rooms, passing behind characters and pieces of furniture, crea ting the sensation that the whole thing is happening in one continuous tak e. Of course it isn't. The cuts are simply disguised. The film is, in a se nse, lying about its own construction- which is rather appropriate for a s tory about people trying to construct their own reality.

What makes Rope so deliciously uncomfortable is that the murderers don't ult imately collapse because their grand philosophy is defeated in some specta cular intellectual duel. They collapse because human beings are terrible a t maintaining a perfect fiction. They sweat. They drink. They contradict t hemselves. 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 artificiali ty is also what makes it fascinating. Hitchcock doesn't try to hide the fa ct that we're watching a constructed stage. He turns the apartment into a kind of pressure chamber, where every movement and every pause acquires su spicious significance. The murderers have hidden the body. Hitchcock has h idden the cuts. Eventually, you realise that both are becoming increasingl y difficult to keep hidden.

This film is chosen by Elisabet h

1-10

Michelangelo Antonioni

L'Avventura

1960

Michelangelo Antonioni, one of the great architects of modern European cinema, had little interest in making films behave properly. Afte r beginning in the orbit of Italian neorealism, he gradually turned his at tention away from social reality and towards the private landscapes of dis connection, desire and boredom. L’Avventura (1960) is the film wh ere that language fully crystallises; the first part of the loose trilogy completed by La notte and L’eclisse.

It begins wit h a disappearance and then, rather perversely, loses interest in solving i t. Anna vanishes from a small island; her friends search for her, but the real subject gradually becomes the strange emotional vacuum her absence ex poses.

Antonioni’s revolution is almost embarrassingly simple: he le ts nothing happen for long enough that we are forced to notice everything else. Architecture, bodies, silences, the geometry of a room- all become m ore expressive than dialogue. Monica Vitti and Gabriele Ferzetti move thro ugh the film like people trying to remember what desire is supposed to fee l like.

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

No wonder the film caused such a stir at Cannes in 1960, where it received the Jury Prize. Antonioni had made a mystery in which the mystery itself slowly becomes irrelevant. And he is perfectly happy to leave the hole ope n.

This film is chosen by Andreas

Do you want to receive our < /p>

monthly program?

Send 'show me your movies' to:

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