De Onvoltooide Tulp

A bus driver on a regular route in the 'polder' moves into a new house with his wife. They are the first inhabitants of a new estate. At the same time, a homeless man and an woman movie into the driver's bus.

A portrait of a woman and 26 witnesses who appear to be accusing her of something but we'll never know what. We'll never even know who she is and who the witnesses are. A complex experiment about space, voice and speech.

The film is adapted from a play by Cyrille Offermans Lichtenberg, scenes at the dawn of a new era". Although the protagonist shares some features with the experimental physicist and writer George Christoph Lichtenberg (1742-1799), who wrote the famous Sudelbücher and numerous letters, the film does not pretend any historical accuracy with respect to the real Lichtenberg, but focuses on Offermans' hybrid [partial fictitious] personage. The result is not an interplay between fact and fiction, but a sort of view of Lichtenberg, mouthing some 19th- and 20th- century authors he couldn't have known, strictly speaking, but whose alleged fantastic formulations seem to follow from his own writings in a natural way.

The film consists of 25 scenes. Each scene is performed by eight actors [out of a group of nine]; the ninth actor continually changing places with another actor who appears in only one or two scenes. The music plays a role like an actor: as soon as the music speaks the actors are silent. The writing of the scenario and making of the film were mainly a question of searching for a 'theme', and the film itself is also concerned with 'what it's about'. This 'unstated' aspect is approached from all its related facets. Scenes were made on the themes of anger, love of pleasure, refusal, disintegration, fear. Both the images, and the texts rise above the everyday level and are no longer narrative. (Wim Schlebaum)

Every scene of the film comprises a dialogue between a man and a woman. The dialogues are fragmentary, in other words, the dialogue in one scene does not tie in with that of the next. In addition there is no development in the relationship between the actor and the actress towards a happy or unhappy ending. The dialogues are not only of substantial interest; it is above all material for the actors. The film balances on the boundary between portraying an intimate relationship between a woman and a man and the intimacy in the acting between the actor and actress. When an actor or actress hardly has any words in a scene, he or she portrays loneliness; when he/she has a monologue, then the attention is focused on speaking the text, on (the reflection about) being an actor. (Wim Schlebaum

Like in his short Ten poems of Hubert Kzn Poot (1975) there is just one protagonist in Sepio. A woman is immersed within a landscape in summertime and she adores her beloved one in everything that emerges from her surroundings.—atelierfransvandestaak.nl

Two couples. The four characters are played by eight actors. There is little dialogue. Sometimes a couple does not seem to live together, just to be alive together in the same room. Each one of them at one time walks through an anymous part of Amsterdam. They put their feet down with a will, clicking their way through town. We do not know where or why they are going. To a meeting, to get some exercise, nowhere? They have difficulty in communicating. They leave notes to each other on the table rather than talk.

La terra in due means the earth of the landlords versus that of the peasants who actually cultivate it. This film uses evocative photogrphy and a dignified rhythm to depict the death of peasant culture. This fact is brought home by the super 8 footage shot ten years earlier. Blank's familiarity with the villagers and their unsselfconsciousness in front of the camera produce a high degree of authenticity in this account of culture of the 'mezzadria'.

An actress and an actor overhear parts of the play "Three Travelers Watch Sunrise" by Wallace Stevens (1879-1955). The dialogues of the three [Chinese] travelers and the girl [Anna] are spoken as a monologue by the actress. The actor just listens but occasionally he gives her instructions.

Four persons travel by rail to visit a city. On arrival they take a bicycle to continue their tour and join occasionally a passing protest manifestation. The camera is never far off their trail.

Documentary about the work of Venetian painter Carpaccio.

Ten poems from Hubert Korneliszoon Poot from the Dutch farmer and poet Hubert Poot, who lived in the 18th century -declared by Donald de Marcas [actor]. (Wim Schlebaum)

From Spinoza's Ethica 82 sentences were selected without a strict coherence and re-assembled in seven components. Each component was filmed four times at least, in a different setting with different actors. Spinoza's sentences are taken as dialogues 'tout court', and not as a collection of opinions. Spinoza's style of philosophical thinking is presented as an activity in the first place, which is then revealed by each individual actor in his own way.