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1968

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(...) KELEK is the first Nekes film with a story. The story of a consciousness. This consciousness has nothing to do with anything other than seeing. Seeing is the subject of the film.
Until now, there have only been films to watch.
Although contemplative cinema, the films that consist of a single long take, have softened the spectator’s attitude, there has never been a film that was so exclusively about seeing. Nekes' own earlier films, such as GURTRUGS or MUHKUH,…

1969

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(…) This film is a film, in which the colors have a strange dark sheen, reminding you much more of old black-and-white films than color films. The camera angles are often very old-fashioned and rigid, so that original locations such as the entrance hall of an old villa look strangely like theater sets into which the characters disappear without being followed by the camera. As a result, they often act very small in a long shot where we are otherwise…

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1980

Liked 8

Kurosawa is just such a master. If ever you make a movie and you have rain or snow or anything, just don't do it before you see all of the Kurusawa's and study and read how he produced weather. And then you can go and make a movie with rain. But just don't do it without consulting Kurosawa.

Wim Wenders (excerpt from Criterions „Closet Picks“, 2024)

1966

Liked 9

If you think that a film about the life of a donkey cannot be moving and take your breath away, watch AU HASARD BALTHAZAR from 1966, and think again. The film by French master Robert Bresson on the topics of violence as well as comion is one of those films that change the way you see the world.

Wim Wenders (excerpt from an introduction published on Acontraplus in November 2023)

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