By Carrie Rosten
Daily Bruin Contributor
Perhaps the words "foreign film" frighten or maybe even bore,
but alas as part of the UCLA intelligentsia it should be top
priority to kick off the school year by supporting art and
erudition at our very own Melnitz Theater. Students and faculty
alike can show their support for UCLA’s impressive film archive by
seeing at least one of the 18 Dutch films selected to screen in the
upcoming series, "Getting (Sur)Real: Films from the
Netherlands."
Beginning Sept. 26, the series promises to deliver films which
Laura Kaiser, curator of the series, likens to "lots of little
gems." According to her, "these films aren’t flashy or dazzling in
the prototypical Hollywood sense. They’re small-scale stories
rather than blockbusters … a little off the beaten track."
Viewers already may be familiar with Dutch blockbuster-action
directors Paul Verhoeven ("Robocop") or Jan de Bont ("Twister" and
"Speed"). It is highly unlikely, however, that Americans have had
the opportunity to familiarize themselves with lesser-known Dutch
directors such as Robert Jan Westdijk or Heddy Honigman who are
highlighted in the series.
Thursday night opened with Robert Jan Westdijk’s provocative
drama, "Little Sister," a recent film dealing with the bizarre
relationship between an obsessed, voyeuristic, camera-toting
brother, Martyn, and his trendy design student sister, Daantje.
Brother Martyn captures Sister Daantje’s every move on tape,
creating a visible atmosphere of tension reflecting both their
estrangement from each other as well as the possibility of two
severely traumatic pasts.
"This film really moves," Kaiser explains, "there’s a real
’60s/Amsterdam feel to it. It’s really the film most accessible to
the twenty-something crowd and student."
"Little Sister" addresses compelling themes of alienation,
sexuality, inter-subjectivity and the complexities of memory loss
and recall. The film’s uniqueness lies in the way the tale’s told
through the all too subjective and experimental lens of a camera
within the big picture. Students will have the rare opportunity to
meet the director in a question-and-answer session immediately
following Thursday night’s screening.
The series continues this weekend with films from the surrealist
as well as realist schools. For a visual smattering of color and
over-the-top glam there are Irma Achten’s farcical tales, "Marie
Antoinete is Not Dead" and "Belle." If you’re in the mood for
grittier and more sobering cinema then Alex von Warmerdam’s films,
"The Northerners" and "Abel" may be more your style. These dark
comedies self-mockingly capture the stifling pragmatism and sexual
repression for which the Dutch have long been known. Ultimately,
however, the films convey a profound sense of liberalism, keeping
the Dutch spirit of independence, individuality and rebellion alive
and well.
Two recent documentaries about Dutch imperialism in Indonesia
will also screen. On Sunday Oct. 6. , "Mother Dao, The Turtlelike"
and "The Battle of the Java Sea" will be shown. Each film takes a
deeper look at the implications of Dutch colonial rule employing
both traditional and non-traditional techniques of representation
and presentation.
"Mother Dao" employs abstract visuals, indigenous music and
government images to create a dreamlike narrative where time and
space are uncertain. "Battle of the Java Sea" uses conventional
techniques of linear narration and survivor footage to form a more
traditional documentary.
An eclectic array of real-life dramas follow in the second week
of October, with Heddy Honigman’s touchingly human love story, "Au
Revoir," leading the way. This week pays homage to the expert
storytelling skills of a group of filmmakers who successfully
engage and engross their viewers by taking old tales and making
them new again. Robert van den Berg exemplifies this trait in
"Evenings," a comedic film dealing with non-communicative family
members in postwar-Amsterdam. Here, as in the other films, the
cultural maturity of the Dutch reveals itself through the poignant
storytelling skills of the directors whose tales are effectively
driven by true-to-life people in familiar settings.
Although Dutch cinema may not be well-known or touted in the
U.S., the series offers a stimulating variety of films which will
introduce students to the small, but fast-growing world of Dutch
film making. In an attempt to garner more support both for Dutch
film and the archives, the series presents viewers with a plethora
of choice. From surreal melodrama to restored political shorts to
award winning love stories "Getting (Sur)Real: Film from the
Netherlands" offers a little bit of everything thematically,
visually, and stylistically.
Kaiser summed up the strengths of these Dutch films individually
and as parts of the long-awaited series.
"The Dutch present a surprising perspective of what’s going on
right now in Europe," she said, "They possess an energy all their
own – all Dutch – they’ve totally walked through this U.S. cultural
imperialism thing and have dealt with it successfully."
FILM: Melnitz Archives presents "Getting
(Sur)Real: Film fro m the Netherlands" began yesterday and goes
till Oct. 17. Tickets are $4 for students. Call (310) UCLA-ART for
more information.