BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:25456@offbeat.amsterdam SUMMARY:CiNEMERCATOR - SMALL WORLDS 2001 DTSTAMP:20260731T183556Z DTSTART:20260805T180000Z 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\n5-8\n\nLes Blank\n\nBur den of Dreams\n\n(1982)\n\nBurden of Dreams is one of the rare making-of d ocumentaries that completely\ntranscends its original purpose.\n\nOn paper it follows Werner Herzog during the disastrous production of\nFitzcarrald o\; in practice it becomes a film about obsession itself. Les Blank’s\ncam era never sensationalizes the chaos\, nor does it try to explain Herzog aw ay.\nIt simply observes a director whose artistic conviction pushes everyo ne-\nincluding himself- to the edge of what seems reasonable.\n\nYet Burde n of Dreams is never merely about filmmaking. It is about the peculiar\nre lationship between ambition and madness\, and about the strange places peo ple\nare willing to go in pursuit of an idea that refuses to let them go. Blank’s\ncalm\, unembellished approach gives the film its power: instead o f judging\nHerzog\, he lets the contradictions speak for themselves.\n\nHe rzog comes across as visionary\, reckless\, inspiring and deeply frustrati ng\,\noften within the same scene. The famous image of hauling a full-size d steamship\nover a mountain ceases to feel like a metaphor and becomes an uncomfortable\nreality\, forcing the audience to ask whether extraordinar y art can ever justify\nextraordinary human cost.\n\nSeen today\, it remai ns one of cinema’s most fascinating self-portraits\, not\nbecause it celeb rates genius\, but because it reveals how thin the line can be\nbetween ar tistic necessity\, obsession\, and self-destruction. It ultimately\nenrich es Fitzcarraldo\, but it stands just as confidently on its own as a\ndocum entary about the price of turning an impossible dream into reality...\n\nt his film is chosen by Andreas\n[https://www.supermercator.nl/cinemercator/ team-cinemercator]\n\n12-8\n\nDavid Lynch\n\nA Straight Story\n\n(1999)\n\ nThe Straight Story is often described as David Lynch’s most normal film\, but\nthat can be misleading. It may lack the surreal imagery and narrativ e puzzles\nthat define much of his work\, yet it is unmistakably a Lynch f ilm in its\nattention to silence\, landscape and the quiet mysteries of or dinary life.\n\nBased on the true story of Alvin Straight\, an elderly man who drives his lawn\nmower across several states to reconcile with his es tranged brother\, the film\nunfolds at the pace of its protagonist. Lynch never rushes the journey or\ninflates its emotions. Instead\, he finds dra ma in small encounters\; with\nstrangers\, memories and the passing Americ an landscape. These moments gradually\naccumulate into something unexpecte dly profound.\n\nRather than feeling like an exception within Lynch’s body of work\, The Straight\nStory reveals another side of the same filmmaker: one equally fascinated by\nhuman vulnerability\, only this time without t he shadows. It is one of the\nwarmest and most compassionate films he ever made\, and a reminder that profound\ncinema doesn’t always need to raise its voice.\n\nThis film is chosen by Maaike\n[https://www.supermercator.nl /cinemercator/team-cinemercator]\n\n19-8\n\nMaren Ade\n\nEVERYONE ELSE\n\n (2009)\n\nAn alternately loving and feuding couple\, together for an unkno wn period of\ntime\, are on vacation on Sardinia: he\, Chris\, a strugglin g\, perhaps visionary\narchitect (Lars Eidinger)\; she\, Gitti\, a music p ublicist (Birgit Minichmayr\,\nwinner of a Silver Bear at the 2009 Berlin Film Festival).\n\nAs long as they exist in an hermetic sphere of their ow n creation\, they are\ncomfortable in their bodies\, but persist in subtle role-playing that can only\nharm their relationship. Theirs is a uniquely defined interaction where Chris is\nthe more “feminine” partner—performin g a decidedly unmacho dance to Willie\nNelson and Julio Iglesias’ ‘80s cla ssic “To All the Girls I’ve Loved Before”\nunder Gitti’s gaze and the femi nine gaze of the camera.\n\nAided by actors who are fearless in exploring their own bodies and minds\, Maren\nAde transforms what should be a famili ar story into an emotional tour de force\,\nand at the same time creates w hat might be considered to be a definitive\ngenerational portrait.\n\nThis film is chosen by Merthe\n[https://www.supermercator.nl/cinemercator/team -cinemercator]\n\nDo you want to receive our\n\nmonthly program? [https:// youtu.be/8q7hLEF028A?is=lDZttppPtnivIrqX]\n\nSend 'show me your movies' to [cinemercator@gmail.com]:\n\ncinemercator@gmail.com [cinemercator@gmail.c om]\n\narchive [https://www.supermercator.nl/cinemercator/cinemercator-a-r -c-h-i-v-e] URL:https://offbeat.amsterdam/event/cinemercator-small-worlds-2001-1 GEO:52.3689648;4.8512865 LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam STATUS:CONFIRMED CATEGORIES:ade,amsterdam-west,dance,de-baarsjes,documentary,festivals,film, music,oud-west,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€

5-8

Les Blank

Burden of Dreams

(1982)

Burden of Dreams is one of the rare making-of documentaries that completely transcends its original purpose.

On paper it follows Werner Herzog during the disastrous pr oduction of Fitzcarraldo; in practice it becomes a film about obs ession itself. Les Blank’s camera never sensationalizes the chaos, nor doe s it try to explain Herzog away. It simply observes a director whose artis tic conviction pushes everyone- including himself- to the edge of what see ms reasonable.

Yet Burden of Dreams is never merely about filmmaking. It is about the peculiar relationship between ambition and mad ness, and about the strange places people are willing to go in pursuit of an idea that refuses to let them go. Blank’s calm, unembellished approach gives the film its power: instead of judging Herzog, he lets the contradic tions speak for themselves.

Herzog comes across as visionary, reckle ss, inspiring and deeply frustrating, often within the same scene. The fam ous image of hauling a full-sized steamship over a mountain ceases to feel like a metaphor and becomes an uncomfortable reality, forcing the audienc e to ask whether extraordinary art can ever justify extraordinary human co st.

Seen today, it remains one of cinema’s most fascinating self-po rtraits, not because it celebrates genius, but because it reveals how thin the line can be between artistic necessity, obsession, and self-destructi on. It ultimately enriches Fitzcarraldo, but it stands just as co nfidently on its own as a documentary about the price of turning an imposs ible dream into reality...

this film is chosen by Andreas

12-8

David Lynch

A Straight Story

(1999)

The Strai ght Story is often described as David Lynch’s most normal fi lm, but that can be misleading. It may lack the surreal imagery and narrat ive puzzles that define much of his work, yet it is unmistakably a Lynch f ilm in its attention to silence, landscape and the quiet mysteries of ordi nary life.

Based on the true story of Alvin Straight, an elderly man who drives his lawn mower across several states to reconcile with his est ranged brother, the film unfolds at the pace of its protagonist. Lynch nev er rushes the journey or inflates its emotions. Instead, he finds drama in small encounters; with strangers, memories and the passing American lands cape. These moments gradually accumulate into something unexpectedly profo und.

Rather than feeling like an exception within Lynch’s body of wo rk, The Straight Story reveals another side of the same filmmaker : one equally fascinated by human vulnerability, only this time without th e shadows. It is one of the warmest and most compassionate films he ever m ade, and a reminder that profound cinema doesn’t always need to raise its voice.

This film is chosen by Maaike

19-8

Maren Ade

< p>EVERYONE ELSE

(2009)

An alternately loving and feuding coupl e, together for an unknown period of time, are on vacation on Sardinia: he , Chris, a struggling, perhaps visionary architect (Lars Eidinger); she, G itti, a music publicist (Birgit Minichmayr, winner of a Silver Bear at the 2009 Berlin Film Festival).

As long as they exist in an hermetic s phere of their own creation, they are comfortable in their bodies, but per sist in subtle role-playing that can only harm their relationship. Theirs is a uniquely defined interaction where Chris is the more “feminine” partn er—performing a decidedly unmacho dance to Willie Nelson and Julio Iglesia s’ ‘80s classic “To All the Girls I’ve Loved Before” under Gitti’s gaze an d the feminine gaze of the camera.

Aided by actors who are fearless in exploring their own bodies and minds, Maren Ade transforms what should be a familiar story into an emotional tour de force, and at the same time creates what might be considered to be a definitive generational portrait .

This film is chosen by Merthe

Do you want to receive our

monthly program?

Send 'show me your movies' to:

cinemercator@gmail.com

archive

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