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Intimate Passions: Rotterdam 1992
From Sight and Sound (March 1992). –- J.R. There was a discernible change of emphasis this year’s Rotterdam Festival under its new director, Emile Fallaux. Certainly, there were fewer intellectual and scholarly interests than in the reign of Marco Müller, who has moved on to Locarno,although the creation of a new organization called ‘The Limits of Liberty’ to promote free expression for filmmakers (somewhat after the model of PEN) signaled a new activist impulse. With selections now made by a team of Dutch programmers rather than a single individual, Rotterdam has arguably become more of a Dutch event than it was under the extended rule of the late Hubert Bals, who tended to shun native product. But one welcome constant is a passionate defense of the marginal and surreptitious, and an overall sense of equality that puts studio tyros and independents on the same footing. One of the most striking films this year was Zhang Yuan’s Mama, an independently Made, banned work from mainland China about mentally handicapped children. Alternating between an emotionally subdued fictional story in black and white about a mother and her retarded son and highly emotional documentary interviews in color video with the real-life counterparts, the film sets up a neo-Brechtian strategy with complex dividends. Read more
From Sight and Sound (March 1992). –- J.R.
There was a discernible change of emphasis this year’s Rotterdam
Festival under its new director, Emile Fallaux. Certainly, there were
fewer intellectual and scholarly interests than in the reign of Marco
Müller, who has moved on to Locarno,although the creation of a new
organization called ‘The Limits of Liberty’ to promote free expression
for filmmakers (somewhat after the model of PEN) signaled a new
activist impulse. With selections now made by a team of Dutch
programmers rather than a single individual, Rotterdam has arguably
become more of a Dutch event than it was under the extended rule of
the late Hubert Bals, who tended to shun native product. But one welcome
constant is a passionate defense of the marginal and surreptitious, and
an overall sense of equality that puts studio tyros and independents on
the same footing.
One of the most striking films this year was Zhang Yuan’s Mama, an
independently Made, banned work from mainland China about
mentally handicapped children. Alternating between an emotionally
subdued fictional story in black and white about a mother and her
retarded son and highly emotional documentary interviews in color
video with the real-life counterparts, the film sets up a neo-Brechtian
strategy with complex dividends.
