BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:23100@offbeat.amsterdam SUMMARY:CiNEMERCATOR - Luchino Visconti BELISSIM A 1951 DTSTAMP:20260719T131946Z DTSTART:20260603T180000Z 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\n3-6\n\nLuchino Visconti BELISSIMA 1951\n\nLuchino Visconti’s Bellissima feels at once tender and merciless. What begins as\na story about a mother pushing her daughter tow ard stardom slowly reveals itself\nas something sadder and more universal: a portrait of people clinging to dreams\nbecause reality offers them so l ittle dignity. Visconti never reduces this to\nsatire\, even when the film exposes the absurdity of the film industry and the\ncruelty hidden inside fantasies of success.\n\nWhat makes Bellissima so moving is the tension b etween spectacle and intimacy.\nCinecittà\, with all its lights and illusi ons\, hovers over the film like a\nmachine that feeds on longing\, while t he emotional center remains painfully\nsmall and human: a mother terrified that her child might inherit the same\ndisappointments she did. The film has the texture of neorealism\, but there’s\nalready something harsher and more theatrical emerging in Visconti’s gaze\; an\nunderstanding that perf ormance is not confined to cinema\; people perform\nconstantly in order to survive.\n\nBy the end\, Bellissima becomes less about cinema than about love distorted by\nambition and poverty. Its final emotional turn lands wi th devastating clarity:\nthe rare moment when affection finally outweighs illusion. Few films capture so\nprecisely the humiliation and tenderness o f wanting a better life for someone\nyou love.\n\nThis film is chosen by E lisabeth\n[https://www.supermercator.nl/cinemercator/team-cinemercator]\n\ n10-6\n\nAlice Rohrwacher CORPUS CELESTE 2012\n\nAlice Rohrwacher’s Corpo Celeste has the quiet intensity of someone observing\nthe world very close ly without trying to force meaning onto it. The film follows\nMarta\, a sh y thirteen-year-old girl returning with her family to southern Italy\nafte r years abroad\, as she drifts through the rituals of Catholic education a nd\nadolescence with a mixture of curiosity\, confusion and silent disappo intment.\nRohrwacher films this world with remarkable patience: priests\, catechism\nteachers\, crumbling apartment blocks\, half-finished conversat ions\, neon lights\,\ncheap religious imagery- all of it feels both\; absu rd and deeply real.\n\nMarta is searching for something sincere\, some for m of spiritual or emotional\ntruth\, but the adults around her mostly seem trapped in habit\, vanity\, or\nexhaustion. The film understands how lone ly that realization can be at that age\,\nwhen you begin noticing that the structures meant to guide you are themselves\nfragile and confused.\n\nRo hrwacher has an extraordinary eye for faces\, gestures\, and spaces. Nothi ng is\noverstated. The film moves almost like memory: fragments of songs\, awkward\nsilences\, nighttime streets\, religious processions\, moments o f accidental\nbeauty. Beneath its realism there is also something faintly mystical\, as if the\npossibility of grace still exists somewhere at the e dges of this broken world\,\neven if nobody quite knows how to reach it an ymore.\n\nThis film is chosen by Andreas\n[https://www.supermercator.nl/ci nemercator/team-cinemercator]\n\n17-6\n\nAlan Elliott/Sydney Pollack [http s://en.wikipedia.org/wiki/Sydney_Pollack]\nAMAZING GRACE 1972/2018\n\nIn t his beautiful concert film\, documenting a performance given by Aretha\nFr anklin in 1972\, the Queen of Soul shines like no other. The footage was\n originally shot by Hollywood director Sydney Pollack\, but due to technica l\nproblems it remained locked away in a vault for decades\, until directo r Alan\nElliott finally assembled it in 2018. The film was released shortl y after\nFranklin’s passing.\n\nThe concert offers a wonderful portrait of a then 30-year-old Franklin\,\nperforming in the gospel tradition in whic h she was raised and which remained\ndeeply her own. Through her music\, s he bridges the world of traditional\nchurchgoers and the pop icons of the era\, all of whom made the journey to the\nBaptist church to hear Aretha s ing.\n\nThis film is chosen by Maaike\n[https://www.supermercator.nl/cinem ercator/team-cinemercator]\n\nDo you want to receive our\n\nmonthly progra m? [https://www.youtube.com/watch?v=f2uC-cF_lbU&t=1s]\n\nSend 'show me you r movies' to [cinemercator@gmail.com]:\n\ncinemercator@gmail.com [cinemerc ator@gmail.com]\n\narchive [https://www.supermercator.nl/cinemercator/cine mercator-a-r-c-h-i-v-e] URL:https://offbeat.amsterdam/event/cinemercator-luchino-visconti-belissim- a-1951 GEO:52.3689648;4.8512865 LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-west,concert,de-baarsjes,film,gospel,music,oud-west,pe rformance,soul,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€

3-6

Luchino Visco nti BELISSIMA 1951

Luchino Visconti’s Bellissima feels at o nce tender and merciless. What begins as a story about a mother pushing he r daughter toward stardom slowly reveals itself as something sadder and mo re universal: a portrait of people clinging to dreams because reality offe rs them so little dignity. Visconti never reduces this to satire, even whe n the film exposes the absurdity of the film industry and the cruelty hidd en inside fantasies of success.

What makes Bellissima so mo ving is the tension between spectacle and intimacy. Cinecittà, with all it s lights and illusions, hovers over the film like a machine that feeds on longing, while the emotional center remains painfully small and human: a m other terrified that her child might inherit the same disappointments she did. The film has the texture of neorealism, but there’s already something harsher and more theatrical emerging in Visconti’s gaze; an understanding that performance is not confined to cinema; people perform constantly in order to survive.

By the end, Bellissima becomes less about cinema than about love distorted by ambition and poverty. Its final emoti onal turn lands with devastating clarity: the rare moment when affection f inally outweighs illusion. Few films capture so precisely the humiliation and tenderness of wanting a better life for someone you love.

Th is film is chosen by Elisabeth

10-6

Alice Rohrwa cher CORPUS CELESTE 2012

Alice Rohrwacher’s Corpo Celeste h as the quiet intensity of someone observing the world very closely without trying to force meaning onto it. The film follows Marta, a shy thirteen-y ear-old girl returning with her family to southern Italy after years abroa d, as she drifts through the rituals of Catholic education and adolescence with a mixture of curiosity, confusion and silent disappointment. Rohrwac her films this world with remarkable patience: priests, catechism teachers , crumbling apartment blocks, half-finished conversations, neon lights, ch eap religious imagery- all of it feels both; absurd and deeply real.

< p>Marta is searching for something sincere, some form of spiritual or emot ional truth, but the adults around her mostly seem trapped in habit, vanit y, or exhaustion. The film understands how lonely that realization can be at that age, when you begin noticing that the structures meant to guide yo u are themselves fragile and confused.

Rohrwacher has an extraordina ry eye for faces, gestures, and spaces. Nothing is overstated. The film mo ves almost like memory: fragments of songs, awkward silences, nighttime st reets, religious processions, moments of accidental beauty. Beneath its re alism there is also something faintly mystical, as if the possibility of g race still exists somewhere at the edges of this broken world, even if nob ody quite knows how to reach it anymore.

This film is chosen by Andreas

17-6

Alan Elliott/Sydney Pollack AMAZIN G GRACE 1972/2018

In this beautiful concert film, documenting a perf ormance given by Aretha Franklin in 1972, the Queen of Soul shines like no other. The footage was originally shot by Hollywood director Sydney Polla ck, but due to technical problems it remained locked away in a vault for d ecades, until director Alan Elliott finally assembled it in 2018. The film was released shortly after Franklin’s passing.

The concert offers a wonderful portrait of a then 30-year-old Franklin, performing in the gosp el tradition in which she was raised and which remained deeply her own. Th rough her music, she bridges the world of traditional churchgoers and the pop icons of the era, all of whom made the journey to the Baptist church t o hear Aretha sing.

This film is chosen by Maaike< /p>

Do you want to receive our

monthly program?

Send 'show me yo ur movies' to:

cinemercator@gmail.com

archive

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