Juni
| Zo. 01 | | We don't want to be stars (but parts of constellations) – Movie Night |
| Do. 05 | | Cultures of Resistance |
| Vr. 06 | | Gattaca |
| Za. 07 | | The sea meets the canal’s clouds |
| Zo. 08 | | Performance live music meets live painting |
| Zo. 08 | | Working Progress: Filmmakers’ Community Event |
| Do. 12 | | VHYes |
| Vr. 13 | | Michel Vay + concert by Wilf Plum and Nicolas Ekla |
| Za. 14 | | The sea meets the canal’s clouds |
| Zo. 15 | | Vrije Ruimte Festival: Amsterdam Global Village + panel talk |
| Do. 19 | | Gallivant |
| Vr. 20 | | Unspoken, yet remembered – Retelling Memories |
| Za. 21 | | Drylongso |
| Do. 26 | | Les Rendez-vous d’Anna |
| Vr. 27 | | Kissable Screens + Porn Film Festival Amsterdam: Porn, Peace, Politics |
| Za. 28 | | Redoubt |
| Ma. 30 | | Movement Song |
Zondag 1 juni, 17:00
SPECIAL
We don't want to be stars (but parts of constellations) – Movie Night
EN As part of the program “We don’t want to be stars (but parts of constellations)” Suns and Stars and Cavia join in an equivocal translational movie night, presenting short movies not as a plurality of perspectives, but as a multiplicity of worlds, “to communicate by differences, instead of presuming a univocality”. The night shall be filled with murmurings of restless bodies, earth’s growls, and sonic textures. MORE→
Entrance: €5 or ‘pay what you can’ starting from €1
Free for Cineville members
Donderdag 5 juni, 20:30
DOCU
Cultures of Resistance
Iara Lee | 2018-2023 | various | 102’ | EN subtitles
NL Cultures of Resistance Films is een project van Caipirinha Productions, Inc. Hun missie is het creëren en distribueren van films die het publieke bewustzijn over sociale en economische rechtvaardigheid vergroten en creatieve inspanningen tonen om vrede te bevorderen en mensenrechten te beschermen.
Hun nieuwste documentaire, Unite for Bissau (Nô Kumpu Guiné): agroecology and feminism in Guinea Bissau, staat op het punt een belangrijke mijlpaal te bereiken: ze wordt in 100 landen wereldwijd vertoond! Naast deze nieuwste film worden er nog twee andere documentaires vertoond: From Trash to Treasure: turning negatives into positives en Burkinabè Bounty: agro-ecologie in Burkina Faso, zodat de westerse kijker zich kan verdiepen in de realiteit en belangrijke gebruiken van verschillende culturen. Kom naar deze avond met drie vertoningen (met een pauze van 10 minuten) en discussies, met als doel onze horizon te verbreden en ons meer te verenigen!
EN Cultures of Resistance Films is a project of Caipirinha Productions, Inc. Its mission is to create and distribute films that advance public awareness about issues of social and economic justice, and that showcase creative efforts to promote peace and protect human rights.
Their latest documentary, Unite for Bissau (Nô Kumpu Guiné): agroecology and feminism in Guinea Bissau, is on the verge of a major milestone—showing in 100 countries worldwide! Together there will be two other documentaries screened; From Trash to Treasure: turning negatives into positives and Burkinabè Bounty: agroecology in Burkina Faso, so the western viewer can dive deep into the reality and important practices of different cultures. Join us for an evening of three screenings (with 10’ breaks in between) and discussions, whose goal is to broaden all our horizons and make us more united!
From Trash to Treasure: turning negatives into positives
Iara Lee | 2020 | Lesotho | 25’
Burkinabè Bounty: agroecology in Burkina Faso
Iara Lee | 2018 | Burkina Faso | 37’
Unite for Bissau (Nô Kumpu Guiné): agroecology and feminism in Guinea Bissau
Iara Lee & João Meirinhos | 2023 | USA, Guinea-Bissau, Portugal | 40’
Vrijdag 6 juni, 20:30
CLASSIC
Gattaca
Andrew Niccol | 1997 | USA | 101’
Gattaca ©️ 1997 Columbia Pictures Industries, Inc. All Rights Reserved
NL Neem een sciencefiction mysterie, een dystopische wereld, Ethan Hawke, Jude Law en Uma Thurman. Het resultaat? Cultklassieker Gattaca.
Filmhuis Cavia heet je welkom in de wereld van Gattaca. Een paranoïde, discriminerende wereld waarin ouders de genetische samenstelling van hun kind kunnen bepalen. Helderblauwe ogen? Een geweldloos karakter? Of een ongelooflijk hoge intelligentie? Het is allemaal aanpasbaar. Vincent Freeman (gespeeld door Ethan Hawke) is echter een kind dat “gewoon” uit liefde is geboren, een “imperfecte” man, en moet zich daarom staande houden tussen de meest perfecte mensen. Om zijn droom te verwezenlijken, een missie naar de ruimte, neemt hij de identiteit aan van de genetisch perfecte Jerome (gespeeld door Jude Law). Jerome voorziet Vincent dagelijks van verse monsters van zijn urine, huid en haar, zodat Vincent zijn identiteit kan vervalsen. Dichter bij zijn doel wordt de missieleider vermoord en is Vincent plotseling verdachte nummer één. Het is geen verrassing dat Niccol het scenario schreef voor Peter Weirs The Truman Show, een andere dystopische klassieker.
Met prachtige sci-fi cinematografie en creatief kleurgebruik (drie basiskleuren die duiden op drie verschillende verschuivingen in de identiteit van de hoofdpersoon) laat de film een visuele indruk achter. Het steriele, futuristische decorontwerp (dat doet denken aan Kubricks iconische 2001: A Space Odyssey) creëert een gevoel van onbehagen en spanning die de film doordringt. De zachte, warme gloed van de buitenwereld staat in contrast met de hardheid van het raamloze, koude interieur van Gattaca. Laat je verrassen door de kleuren en hypnotiseren door de personages (en hun outfits). Met ook oa. Gore Vidal, Danny DeVito en Alan Arkin. Muziek van Michael Nyman.
Met korte inleiding voor de vertoning.
EN Take a sci-fi mystery, a dystopian world, Ethan Hawke, Jude Law and Uma Thurman. The result? Cult classic Gattaca.
Filmhuis Cavia welcomes you to the world of Gattaca. A paranoid, discriminatory world where parents can control the genetic makeup of their child. Angelic blue eyes? A nonviolent character? Or an incredibly high intelligence? It’s all customizable. However, Vincent Freeman (played by Ethan Hawke) is a child born “simply” of love, an ‘imperfect’ man, and therefore must hold his own among the most perfect people. To achieve his dream, a mission to space, he assumes the identity of the genetically perfect Jerome (played by Jude Law). Jerome provides Vincent with fresh, daily samples of his urine, skin and hair, allowing Vincent to fake his identity. Closer to his goal, the mission leader is murdered and Vincent is suddenly suspect number one. It doesn’t come with surprise that Niccol wrote the screenplay for Peter Weirs The Truman Show, another dystopian classic.
With stunning sci-fi cinematography and creative use of colour (three basic colors denote three different shifts in the main character’s identity), the film leaves a visual impression. The sterile, futuristic set design (reminiscent of Kubricks iconic 2001: A Space Odyssey) creates a sense of unease and tension that permeates the film. The soft, warm glow of the outside world is contrasted with the harshness of the windowless, cold interior of Gattaca. Let its colors surprise you, its characters (and their outfits) hypnotize you. Also with Gore Vidal, Danny DeVito and Alan Arkin. Music by Michael Nyman.
With short introduction before the screening.
Zaterdag 7 juni, 20:30
Zaterdag 14 juni, 20:30
CONTEMPORARY
The sea meets the canal’s clouds
NL Nederland is een prachtig land waar veel expats hebben besloten om permanent te blijven. Veel van hen komen uit Griekenland, en hun redenen kunnen divers zijn: politiek, financieel of ideologisch. In dit land groeit hun gemeenschap alleen maar, met steeds meer mensen die elk jaar op zoek zijn naar een betere toekomst. Deze vertoning, 'The sea meets the canal's clouds', is niet alleen bedoeld om de gemeenschap samen te brengen, maar ook om de Griekse cinema aan een breder publiek te introduceren en mensen te laten ontdekken hoe geweldig het kan zijn. De films die worden vertoond, zijn gemaakt door regisseurs die in Nederland wonen, elk om hun eigen redenen; ze hebben allemaal een andere kijk op het filmmaken, andere ervaringen en redenen om het ene land te verlaten en in een ander te gaan wonen. Kom die films ontdekken en blijf voor de discussies die we zullen voeren over de realiteit van het filmmaken, de realiteit in Griekenland, de redenen om te blijven of te vertrekken, en natuurlijk de films zelf!
De discussie wordt gemodereerd door curator Dimitra Alexiou en de bar blijft open zolang de discussie duurt, onder het genot van Griekse drankjes. Tot dan!
EN The Netherlands is a beautiful country where a lot of expats have decided to stay permanently. A lot of those people come from Greece, and their reasons can be various; either political, financial or ideological. In this country, their community is only growing, with more and more people looking for a better future each year. This screening, ‘The sea meets the canal’s clouds’, is meant to not only bring the community together, but to also introduce the greek cinema to broader audiences and let people discover how great it can be. The films shown are made by directors who live in the Netherlands, each for their own reasons; they all have different understandings of filmmaking, different experiences and reasons to leave one country and reside in another. Come explore those films and stay for the discussions we will have about the reality of filmmaking, the reality in Greece, the reasons to stay or leave, and of course the films themselves!
The discussion will be moderated by curator Dimitra Alexiou and the bar will be open for as long as the discussion goes with the usual Greek spirits as well. See you there!
Phélia
Elia Kalogianni | 2020 | 17’
Pigeons are dying, when the city is on fire
Stavros Markoulakis | 2023 | 21’
Like Aphrodite
Anisa Xhomaqi | 23’
Tektite
Smaragda Nitsopoulou | 2024 | 17’
Zondag 8 juni, 15:00
SPECIAL
Performance live music meets live painting
NL In deze performance ontmoeten live muziek en live schilderkunst elkaar! Ham en Yim improviseren op gitaar en fluit, waarbij ze jazz, folk, klassieke en ambient-muziek vermengen, terwijl Jana in realtime op de muziek reageert door klanken om te zetten in lijnen via live tekenen. Samen creëren ze een meeslepende ervaring waarin muziek en beeldende kunst zij aan zij tot leven komen.
Ham, een bekroond artiest/gitarist, bekend om zijn innovatieve sonische benadering — winnaar van de GIMA voor Beste Aziatische Creatieve Artiest en geselecteerd voor Ars Electronica Forum Wallis 2025 — combineert Thaise culturele elementen, veldopnames en hedendaags geluidsontwerp. Zijn werk onderzoekt de relatie tussen geluid, ruimte en herinnering en creëert ervaringen die luisteraars verbinden met cultureel erfgoed én het huidige moment.
Yim, een van Thailand’s pionierende fluitisten, is klassiek en historisch opgeleid aan het HKU Utrechts Conservatorium. Ze trad op tijdens het Festival Oude Muziek Utrecht 2018 en slaat bruggen tussen oude muziek en hedendaagse improvisatie, waarmee ze een verfijnde maar avontuurlijke klank aan het duo toevoegt.
Jana Mordhorst is een kunstenaar gevestigd in Amsterdam, bekend om haar expressieve One Line Drawings. Met een achtergrond in design in Denemarken, Duitsland en Italië legt ze mensen en momenten vast met één enkele, ononderbroken lijn. Haar werk omvat live event-tekenen, opdrachten en creatieve workshops die visuele expressie en verbinding stimuleren.
EN In this performance live music meets live painting! Ham and Yim perform on guitar and flute through improvisation, blending jazz, folk, classical, and ambient music, while Jana interacts with the music in real time—translating sound into line through live drawing. Together, they create an immersive experience where music and visual art unfold side by side.
Ham, an award-winning artist/guitarist recognized for his innovative sonic approach—recipient of GIMA’s Best Asian Creative Artist and selected for Ars Electronica Forum Wallis 2025—merges Thai cultural elements, field recordings, and contemporary sound design. His work explores sound, space, and memory, crafting experiences that connect listeners to both cultural heritage and the present moment.
Yim, one of Thailand’s pioneering historical flutists, is a classically and historically trained flutist from HKU Utrechts Conservatorium. A performer at the Utrecht Early Music Festival 2018, she bridges early music traditions with contemporary improvisation, bringing a refined yet adventurous voice to the duo’s sonic landscape.
Jana Mordhorst is an artist based in Amsterdam, known for her expressive One Line Drawings. With a background in design across Denmark, Germany, and Italy, she captures people and moments using a single, continuous line. Her work includes live event drawing, commissions, and creative workshops that encourage visual expression and connection.
Zondag 8 juni, 20:30
SPECIAL
Working Progress: Filmmakers’ Community Event
EN Working Progress is a series of screenings that enable filmmakers to present their unfinished works to meet audiences with the aim of receiving feedback, generating a conversation and network for filmmakers and other film people! Filmmakers and works are chosen through an open call on a monthly basis. For interested parties, please email: workingprogress.ams@gmail.com
The screening will present 3 work in progress films or audiovisual works, with each filmmaker or artist receiving up to 30 minutes to present their unfinished work and talk to the audience about the work. More details about the selected projects to follow in the week before the screening.
Donderdag 12 juni, 20:30
CONTEMPORARY
VHYes (+ Q&A with producer Delaney Schenker)
Jack Henry Robbing | 2019 | USA | 72’ | no subtitles
EN Filmhuis Cavia comes back to bring you the best of the bizarre, the weird and the unconventional that filmmaking has to offer! This month we are very excited to present VHYes, a truly unique retro comedy, which follows 12-year-old Ralph as he records home videos and his favourite late night shows over his parents’ wedding tape. The result is a nostalgic wave of home shopping clips, censored pornography, and nefarious true-crime tales that threaten to unkindly rewind Ralph’s reality.
The film was shot entirely on VHS, bringing us back into a raw but incredibly charming aesthetic that it will be impossible not to fall for. And indeed, how better to describe this film if not a great love letter to a video format which first opened the doors to cheap, accessible, amateur video-making? Both if you were around for the days of VHS or if you want to dwell into a bit of (always well received) romanticization of a past you never lived, this is the film for you!
Present in the cinema will also be Delaney Schenker, the producer of the film, and after the screening we will be able to hold a Q&A with him.
Vrijdag 13 juni, 20:30
SPECIAL
Michel Vay + concert by Wilf Plum and Nicolas Ekla
Patricia Gélise & Nicolas Deschuyteneer | 2023 | België | 60’ | EN subtitles
EN We at Filmhuis Cavia are honoured to present to you a truly special evening of film and music!
At first we will get together in the cinema room to watch Michel Vay, third film of Patricia Gélise & Nicolas Deschuyteneer. Here we will follow our hero, Michel Vay, as he goes through a strange peregrination, moving further and further away from the shores of certainty, as in an inevitable fall through the rabbit hole. This journey is characterized also by his sounds as much as by its beautiful (16 mm!) images.
Because of this, after the movie, we ask you to stay around for the concert by Wilf Plum and Nicolas Ekla, the two musicians who composed the soundtrack of the film. Their concert will attempt to retrace Michel Vay's journey through music, revisiting the main themes of the film and the songs that punctuate it, which they will perform with percussion, analogue synthesisers, bass, echo chamber and vocals.
If you just desire to get lost in sound and images, this is the night you are looking for!
Program:
20:30 - 21:30 | Film screening Michel Vay
21:35 - 22:15 | Concert by Wilf Plum and Nicolas Ekla
Zondag 15 juni, 15:00–22:30 | TICKETS
SPECIAL
Vrije Ruimte Festival
Amsterdam Global Village + panel talk
Johan van der Keuken | 1996 | NL | 245’ | EN subtitles
EN For this year's Vrije Ruimte Festival, Filmhuis Cavia unearths a true masterpiece of Dutch cinema. Arguably Johan van der Keuken’s most important piece of work, the Amsterdam-born director here takes on the near-impossible task of developing a picture of Amsterdam in all of its different communities and identities, from a Ghanian funeral to the Roxy club, and from a traditional fishmonger in the Jordaan to the living room of a Chechen refugee. What results is a long love letter to the city in all of its 180 nationalities.
The screening will be followed by a break with food and drinks, and a panel talk about the current situation of the city, with Isis van der Wel (Ruigoord, CAWA), Wouter Pocorni (urbanist, activist), Yannesh Meijman (filmmaker), Yuchen Li (Asian Movie Night) and Ivo Schmetz (OT301, Amsterdam Alternative). MORE→
Donderdag 19 juni, 20:30
DOCU
Gallivant
Andrew Kötting | 1996 | UK | 104’ | EN subtitles
EN To gallivant means to travel, roam, or move about for pleasure. Under this guise, filmmaker Andrew Kötting drives 10,000 kilometres around the coastline of Britain, accompanied by his 7-year-old daughter Eden who has Joubert’s syndrome, and his 85-year-old grandmother Gladys. Throughout their odyssey the trio brush with eccentric characters and customs, reflecting the fictions and frictions of the British Isles.
There is a motif of electricity pylons, abuzz with voices. Amid the cacophony of thick regional accents, radio-wave interference, diary entries and archival samples, Eden and Gladys forge new ways of communicating with hand signs and gestures. There is a feeling that time is speeding up. Gladys nears the end of her life, whilst Eden is just beginning her fragile existence. Andrew injects boyish humour to soften spirits.
Shot on Super 8 and 16mm film, in a mixture of pumped-up colours and abrasive black-and-white, Gallivant is DIY home-slash-road movie with charm and poignancy.
Vrijdag 20 juni, 20:30
DOCU
Unspoken, yet remembered – Retelling Memories
EN This program brings together two deeply personal documentary films that explore family memory, silence, and the power of rediscovered artifacts to unlock hidden histories. Misha Vallejo retraces his family's past through the lens of his late grandfather’s camera, while Jos Mauro Witteveen Villagómez uncovers his grandmother’s wartime story through a long-forgotten liberation skirt. Both filmmakers trace memories of their families that have not been spoken about.
Together, these films reflect on the stories families choose to share—or bury—and the ways in which memory, identity, and healing are passed down.
After the two films, Jos and Misha will go into conversation.
Grandma’s Skirt
Jos Mauro Witteveen Villagómez | 2025 | NL | 21’ | EN subtitles
EN In the Witteveen family, the war was rarely spoken of, not even by their grandmother, who had lived through it. That changes when Jos Mauro, one of her grandsons stumbles upon an old liberation skirt that belonged to her, carefully preserved for 73 years. His discovery, made through his aunt, sparks a deep curiosity about the story behind it and his interest on his Dutch history, being raised in Ecuador. Delving into archives and speaking with relatives, he sets out in search of answers. What begins as a simple find soon unfolds into a personal journey, one that traces his grandmother’s wartime experiences while prompting him to reflect on his own freedom, identity, and the importance of commemoration.
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Light Memories
Misha Vallejo Prut | 2024 | Ecuador | 80’ | EN subtitles
EN Award-winning Ecuadorian photographer Misha Vallejo goes on a deeply personal journey, using his late grandfather’s camera to recreate a lost family album. This search bridges a gap to a man he never met while confronting the absence of family photographs and the stories they might have told. Through intimate moments with his grandmother, Misha delves into themes of paternal absence, racism, and social discrimination, uncovering hidden family secrets and reclaiming spaces once denied to his loved ones. His lens captures both the pain of violence and the fluidity of memory, offering hope for connection and healing. Light Memories is a meditation on the power of photography, the resilience of family, and the possibility of reclaiming what was once lost.
Zaterdag 21 juni, 20:30
CLASSIC
Drylongso
Cauleen Smith | 1998 | USA | 81’
NL Een verborgen parel van een jaren negentig DIY-film. Cauleen Smith’s Drylongso verweeft een indringende blik op raciaal onrecht in een liefdevol zelfgemaakte moordmysterie/buddy movie/romance-verhaal. Verontrust door het aantal jonge, zwarte mannen die om haar heen sterven – “uitsterven”, zoals ze het zelf noemt – probeert brutale kunststudent Pica hun bestaan te behouden in Polaroidfoto’s. Gedurende de film navigeert ze liefde, vriendschap en verlies; ze vormt onder andere een vriendschap met een vrouw die een gewelddadige relatie probeert te ontsnappen, en wordt per ongeluk verstrikt in een zoektocht naar een seriemoordenaar die door de stad rondsluipt.
Drylongso is een film waarin het bruisende gemeenschapsgevoel van het Oakland, Californië in de jaren zeventig wordt vastgelegd; de film is zowel een (zeldzame) viering van zwarte, vrouwelijke creativiteit, als een aangrijpende homage aan een generatie van verloren Afro-Amerikaanse mannen.
Smith schoot Drylongso – op schitterende 16mm film! – tijdens haar tijd in graduate school in UCLA. De film ontving een 4K digitale restauratie in 2022 van Janus Films.
EN A rediscovered gem of 1990s DIY filmmaking, Cauleen Smith’s Drylongso weaves a penetrating look at racial injustice with a lovingly handmade murder mystery/buddy movie/romance. Alarmed by the rate at which the young Black men around her are dying—indeed, “becoming extinct,” as she sees it—brash art student Pica attempts to preserve their existence in Polaroid snapshots. Along the way, she forges a friendship with a woman escaping an abusive relationship, navigates love and loss, and becomes caught up in the search for a serial killer stalking the city. Capturing the vibrant community spirit of Oakland California in the nineties, Drylongso is both a rare celebration of Black female creativity and a poignant elegy for a generation of lost African American men.
Smith shot the film whilst still in graduate school at UCLA. It was given a 4K digital restoration in 2022 by Janus Films.
Donderdag 26 juni, 20:30
CLASSIC
Les Rendez-vous d’Anna
Chantal Akerman | 1978 | BE, GE, FR | 127’ | EN subtitles
Collections CINEMATEK - ©️ Fondation Chantal Akerman
NL In Les Rendez-vous d’Anna neemt Chantal Akerman ons mee op een nomadische tocht van een Belgische cineaste genaamd Anna, gespeeld door Aurore Clément.
De verhalende opvolger van haar internationale doorbraak, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, is een indringend portret van de zielenpijn van een vrouw en een betoverende odyssee door een spookachtig Europa. Terwijl ze op tournee is door Duitsland, België en Frankrijk om haar nieuwste film te promoten, doorloopt Anna, een volleerd filmmaakster, een reeks griezelige, prachtig gefilmde korte ontmoetingen – met mannen en vrouwen, familie en vreemden – die geleidelijk haar emotionele en fysieke onthechting van de wereld onthullen. Dit quasi zelfportret, dat Akermans eigen rusteloze omzwervingen weerspiegelt, reist door een opeenvolging van liminale ruimtes – hotelkamers, treinstations, treinwagons – naar een onuitwisbare ontmoeting met het spook van de geschiedenis.
Digitaal gerestaureerde kopie van de Cinémathèque Royale de Belgique. Met inleiding.
EN In Les Rendez-vous d'Anna, Chantal Akerman takes us on a nomadic journey of a Belgian filmmaker named Anna, played by Aurore Clément.
Akerman’s narrative follow-up to her international breakthrough, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, is a penetrating portrait of a woman’s soul-deep malaise and a mesmerizing odyssey through a haunted Europe. While on a tour through Germany, Belgium, and France to promote her latest movie, Anna, an accomplished filmmaker, passes through a series of eerie, exquisitely shot brief encounters—with men and women, family and strangers—that gradually reveal her emotional and physical detachment from the world. Mirroring the itinerant Akerman’s own restless wanderings, this quasi self-portrait journeys through a succession of liminal spaces—hotel rooms, railway stations, train cars—toward an indelible encounter with the specter of history.
Digitally restored copy from the Cinémathèque Royale de Belgique. With introduction.
Vrijdag 27 juni, 20:30
SEX-POSITIVE
Kissable Screens + Porn Film Festival Amsterdam
Porn, Peace, Politics
NL In verschillende delen van de wereld – waaronder dit onderwatergebied – zijn we getuige van groeiende onrust, aangewakkerd door aanhoudende oorlogen, genocides, opkomend fascisme en de vernietiging van de natuur. Dit filmblok, samengesteld voor de laatste editie van het Porn Film Festival Amsterdam, brengt werken samen die wereldwijde crises signaleren, bespotten en becommentariëren vanuit de lens van pornografie. De films onderzoeken hoe het lichaam en seksualiteit kunnen dienen als instrumenten voor maatschappelijk bewustzijn, politieke kritiek en activisme. MEER→
EN In different corners of the world — including this underwater one — we are witnessing growing unrest driven by ongoing wars, genocides, rising fascism, and the destruction of nature. This film block, curated for the latest edition of the Porn Film Festival Amsterdam, brings together works that signal, mock, and comment on global crises through the lens of pornography. These films explore how the body and sexuality can serve as tools for social awareness, political critique, and activism. MORE→
Zaterdag 28 juni, 20:30
ART
Redoubt
Matthew Barney | 2019 | USA | 134’ | no dialogue
EN Inspired by the myth from Ovid’s Metamorphoses about Diana, the goddess of the hunt, and Actaeon, the hunter who is punished after accidentally intruding upon her, Matthew Barney’s Redoubt unfolds as a series of hunts over seven days and nights in Idaho’s Sawtooth Mountains.
Diana (played by champion Palma rifle shooter Anette Wachter) appears as a modern-day sharpshooter, accompanied by her attendants—the Tracking Virgin and the Calling Virgin—in pursuit of an elusive wolf. Stumbling across the trio, the Engraver (played by Barney) furtively documents their actions in a series of copperplate engravings. Their movements gradually take on the form of a choreographed dance, echoing, foreshadowing and interpreting their encounters with the wilderness. In a pivotal scene near the film’s end, a Native American dancer, the Hoop Dancer, performs an intricate movement sequence that links the characters across time and space, triggering a climactic moment of cosmic and terrestrial reversal.
Layering classical, cosmological, and American myths of nature and guardianship, Redoubt constructs a layered portrait of the central Idaho region—ultimately questioning humanity’s place in the natural world. The film has been described by The New York Times as “breathtakingly beautiful” - “as you emerge you will discover that you have found a new way of seeing”.
Artist’s Bio
Matthew Barney (b. 1967, San Francisco) is among the most ambitious and provocative artists of our time, known for epic projects such as Drawing Restraint (1987-ongoing), The CREMASTER Cycle (1994–2002) and River of Fundament (2007-2014). His work examines physical and biological systems as a portal to the psychic, symbolic, mythological, occult and archetypal dimensions of human experience and consciousness. Describing himself primarily as a sculptor, his practice spans drawing, photography, performance and film.
Maandag 30 juni, 20:30
CONTEMPORARY
Movement Song + Q&A
Mayıs Rukel, Victoria McKenzie | 2025 | 96’ | EN subtitles
NL Noa (gespeeld door Victoria McKenzie) is een onderzoeker, een kunstenaar, een verhalenverzamelaar en een intuïtieve beoefenaar van het hervertellen; ze verfijnt methoden om een thuis op aarde te creëren tegen de stroom in. Ze verhuist met haar Caribische afkomst mee, nadat ze al naar veel verschillende plekken is verhuisd, en verhuist ook met een recent toegenomen verdriet. Ze is gebroken. Via haar vriend Jules (gespeeld door Jules Davis-Dufayard) verbindt een mysterieuze glazen hamer haar met Saffron (gespeeld door Sabrina Miller); een dichter, schrijver, redacteur en een vertrouwde beschermer van zeldzame objecten. Noa en Saffron ontwikkelen een diepe intimiteit en doorstaan conflicten tussen en met hun vrienden. Hun passie, verdriet en vreugde zetten aan tot beweging, terwijl hun liefde veerkracht opbouwt.
Noa's liefdesverdriet voert haar naar Saint-Paul-de-Vence in Zuid-Frankrijk, in de voetsporen van James Baldwin, wiens onverwerkte verdriet hem in 1971 daarheen bracht om de laatste zestien jaar van zijn leven in dat kleine dorpje door te brengen. Sporen van een ballingschap of een laatste thuis zijn aan de oppervlakte moeilijk te zien door het verdwijnen van de huiselijkheid van de zwarte gemeenschap. Wie mag zich vestigen, en waar? Wiens thuis wordt slechts tijdelijk getolereerd? Wiens tastbare nalatenschap verdient bescherming? Wat maakt een blijvende thuis?
EN Noa (portrayed by Victoria McKenzie) is a researcher, an artist, a collector of stories as well as an intuitive practitioner of re-storying; honing methods of crafting homespace on earth against systemic odds. She moves with her Caribbean lineage, having already moved to many different places, and is also moving with a recently heightened presence of grief. She is heartbroken. Through her friend Jules (portrayed by Jules Davis-Dufayard), a mysterious glass hammer connects her to Saffron (portrayed by Sabrina Miller); a poet, writer, editor and a trusted protector of rare objects. Noa and Saffron develop deep intimacy and move through conflict among and with their friends. Their passion, grief and joy instigates movement as their love builds resilience.
Noa's heartbreak takes her to Saint Paul-de-Vence in southern France, in the footsteps of James Baldwin whose unprocessed grief took him there in 1971 to spend the last 16 years of his life in that small village. Traces of an exile or a final home can be difficult to see on the surface level due to the erasure of Black domesticity. Who is allowed to put down roots, and where? Whose home is only temporarily tolerated? Whose tangible legacies are seen worthy of protection? What makes an enduring homespace?