BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:20717@offbeat.amsterdam SUMMARY:CiNEMERCATOR - Maren Ade TONI ERDMANN 2016 DTSTAMP:20260419T090711Z DTSTART:20260415T180000Z 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\n15-4\n\nMaren Ade TONI ERDMANN 2016\n\nSome films announce their strangeness immediately\; Toni E rdmann takes its time.\nIt begins in a register that feels almost over-fam iliar: a father\, Winfried\,\nmildly anarchic\, drifting through small pra ctical jokes\; a daughter\, Ines\,\nprofessionally composed\, stationed de ep inside the antiseptic machinery of\ncorporate consultancy in Bucharest. The setup suggests a generational comedy\,\nperhaps even a reconciliation narrative. What unfolds instead is something more\nelusive\; less a story than a slow destabilisation.\n\nWhat moves between father and daughter is difficult to name. It is not\nreconciliation\, not recognition exactly. S omething passes\, occasionally\, like a\ncurrent that neither of them can hold. He insists\, in his way\, on the\npossibility of something else. She resists\, or cannot quite follow. And yet\, at\ntimes\, they seem to meet in a what seems like a shared uncertainty.\n\nIt's remarkable how little the film insists on meaning. Its coolness lies not in\ndetachment\, but in its refusal to overdetermine what we are seeing. The absurd\ndoes not red eem\; it exposes. Ade avoids transcendence. She trusts duration\,\nawkward ness\, the intelligence of its viewer and leaves us- like its characters-\ nnegotiating the space between performance and presence\, unsure where one ends\nand the other begins...\n\nMerthes' [https://www.supermercator.nl/c inemercator/team-cinemercator]choice\n\n22-4\n\nDanny Boyle TRAiNSPOTTING 1996\n\nTrainspotting\, directed by Danny Boyle\, carried- and quietly und one- by young\nEwan McGregor\, is about a group of friends in Edinburgh ge tting high\, ripping\neach other off\, talking shit\, killing time. One of them half-trying to leave\nwithout really knowing what leaving even is.\n \nIt’s not built like a rise-and-fall or a warning\, it runs on momentum. The\ncharacters already know the deal\, the film doesn’t waste time preten ding they\ndon’t. What it locks into is that strange zone where nothing is hidden\, but\nnothing changes either. It trusts style. Not as decoration\ , but as a way of\nthinking. The film feels like it’s been rewired to matc h the headspace it’s\ninside.\n\nThat’s why it stuck with people. It didn’ t stand outside and explain a\ngeneration- it sounds like it. Fast\, ironi c\, a bit smug\, already over\neverything. And then\, without announcing i t\, it lets that tone wear thin...\n\nMaaikes' [https://www.supermercator. nl/cinemercator/team-cinemercator]choice\n\nDo you want to receive our\n\n monthly program\n[https://mail.google.com/mail/u/0/#inbox/FMfcgzQgKvPxCNcf dGdLhGBXdGSdjWph?compose=new&projector=1]?\n\nSend 'show me your movies' t o [cinemercator@gmail.com]:\n\ncinemercator@gmail.com [cinemercator@gmail. com]\n\narchive [https://www.supermercator.nl/cinemercator/cinemercator-a- r-c-h-i-v-e] URL:https://offbeat.amsterdam/event/cinemercator-maren-ade-toni-erdmann-201 6 GEO:52.3689648;4.8512865 LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam STATUS:CONFIRMED CATEGORIES:ade,amsterdam-west,comedy,de-baarsjes,film,oud-west,performance, stories,talk X-ALT-DESC;FMTTYPE=text/html:

Filmlover,

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€

15-4

Maren Ade TO NI ERDMANN 2016

Some films announce their strangeness immediately; < em>Toni Erdmann takes its time. It begins in a register that feels al most over-familiar: a father, Winfried, mildly anarchic, drifting through small practical jokes; a daughter, Ines, professionally composed, statione d deep inside the antiseptic machinery of corporate consultancy in Buchare st. The setup suggests a generational comedy, perhaps even a reconciliatio n narrative. What unfolds instead is something more elusive; less a story than a slow destabilisation.

What moves between father and daughter is difficult to name. It is not reconciliation, not recognition exactly. S omething passes, occasionally, like a current that neither of them can hol d. He insists, in his way, on the possibility of something else. She resis ts, or cannot quite follow. And yet, at times, they seem to meet in a what seems like a shared uncertainty.

It's remarkable how little the fil m insists on meaning. Its coolness lies not in detachment, but in its refu sal to overdetermine what we are seeing. The absurd does not redeem; it ex poses. Ade avoids transcendence. She trusts duration, awkwardness, the int elligence of its viewer and leaves us- like its characters- negotiating th e space between performance and presence, unsure where one ends and the ot her begins...

Merthes' choice

22-4

Dan ny Boyle TRAiNSPOTTING 1996

Trainspotting, directed by Danny Boyle, carried- and quietly undone- by young Ewan McGregor, is about a group of f riends in Edinburgh getting high, ripping each other off, talking shit, ki lling time. One of them half-trying to leave without really knowing what leaving even is.

It’s not built like a rise-and-fall or a wa rning, it runs on momentum. The characters already know the deal, the film doesn’t waste time pretending they don’t. What it locks into is that stra nge zone where nothing is hidden, but nothing changes either. It trusts st yle. Not as decoration, but as a way of thinking. The film feels like it’s been rewired to match the headspace it’s inside.

That’s why it stu ck with people. It didn’t stand outside and explain a generation- it sound s like it. Fast, ironic, a bit smug, already over everything. And then, wi thout announcing it, it lets that tone wear thin...

Maaikes' choice

Do you want to receive our

monthly program?

Send 'show me your movie s' to:

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