BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:25429@offbeat.amsterdam SUMMARY:CiNEMERCATOR - SMALL WORLDS 2001 DTSTAMP:20260730T193513Z DTSTART:20260730T180000Z 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\nWhat makes The Straight Story so enduring is its faith in simplicity. It\nsuggests that reconciliation doesn’t require grand gestur es\, only the\nwillingness to begin. Beneath its gentle surface lies a fil m about aging\,\nregret\, dignity\, and the fragile ties that bind familie s together. Lynch\napproaches these themes with remarkable restraint\, all owing the ordinary to\nbecome quietly extraordinary.\n\nRather than feelin g like an exception within Lynch’s body of work\, The Straight\nStory reve als another side of the same filmmaker: one equally fascinated by\nhuman v ulnerability\, only this time without the shadows. It is one of the\nwarme st and most compassionate films he ever made\, and a reminder that profoun d\ncinema doesn’t always need to raise its voice.\n\nThis film is chosen b y Maaike\n[https://www.supermercator.nl/cinemercator/team-cinemercator]\n\ nDo you want to receive our\n\nmonthly program? [https://youtu.be/8q7hLEF0 28A?is=lDZttppPtnivIrqX]\n\nSend 'show me your movies' to [cinemercator@gm ail.com]:\n\ncinemercator@gmail.com [cinemercator@gmail.com]\n\narchive [h ttps://www.supermercator.nl/cinemercator/cinemercator-a-r-c-h-i-v-e] URL:https://offbeat.amsterdam/event/cinemercator-small-worlds-2001 GEO:52.3689648;4.8512865 LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-west,de-baarsjes,documentary,film,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.

What makes The Straight Story so enduring is its faith in simplicity. It suggests that reconciliation doesn’t require grand gest ures, only the willingness to begin. Beneath its gentle surface lies a fil m about aging, regret, dignity, and the fragile ties that bind families to gether. Lynch approaches these themes with remarkable restraint, allowing the ordinary to become quietly extraordinary.

Rather than feeling li ke an exception within Lynch’s body of work, The Straight Story r eveals another side of the same filmmaker: one equally fascinated by human vulnerability, only this time without the shadows. It is one of the warme st and most compassionate films he ever made, and a reminder that profound cinema doesn’t always need to raise its voice.

This film is chosen by M aaike

Do you want to receive our

monthly program?

Send 'show me your movies' to:

cinemercator@gmail.com

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