Films featured include Volcano (Roman Bondarchuk, UA/DE 2018), Letters to Max (Eric Baudelaire, FR 2014) and shorts The Communist Revolution Was Caused By The Sun (Anton Vidokle, KZ 2015) and A Swim (Salomé Jashi, GE 2012).
From 7 July on the Eye Film Player: (films including) The Lighthouse (Maria Saakyan, RU 2006), Georgica (Sulev Keedus, EE 1998) and Extinction (Salomé Lamas, PT/DE 2018).
still from Air Conditioner (Fradique, AN 2020)
Programmers of the Future
14 — 16 July 2023
still from Volcano (Roman Bondarchuk, UA/DE 2018)
Following ten months of research, debate and exchange of ideas, the Programmers of the Future will make their first presentations of the film programmes they have each put together in Eye, accompanied by installations in MACA, an online programme on the Eye Film Player and talks and Q&As with artists and guests.
This summer, three Programmers of the Future present their first film programmes in Eye Filmmuseum. Programmers Janilda Bartolomeu, Korée Wilrycx and Kseniia Bespalova are among the very first to take part in Eye’s talent development programme for future film programmers, set up in 2022. The programme will feature cinema from the African diaspora that counters the notion of a singular reality, female artists on masculinity and alternative visual geographies of the former Soviet Union.
still from Hurry! Hurry! (Marie Menken, US 1957)
still from Ruins in Reverse (Olena Newkryta, 2020)
Alternative visual geographies
Not a Map But a Trace: Former Soviet Land Reclaimed, compiled by Kseniia Bespalova, follows alternative visual geographies of the former Soviet Union. The films show damaged landscapes that still encapsulate the memories of oppression, and so are recaptured from the dominant narratives of state Socialism. The programme probes the dangers of the imperial vision, and in so doing underlines the urgent need for new forms of cross-border connection and communication.
still from Café com Canela (Ary Rosa & Glenda Nicácio, BR 2017)
Black filmmakers against a singular reality
Black Atlantic Visions, compiled by Janilda Bartolomeu, is a stimulating, nuanced programme of cinema from the African diaspora. Bartolomeu found a number of hidden treasures that reveal how the current wave of Black filmmakers is resisting notions of a singular reality and the 'right way of looking' imposed by colonial powers.
These include Café com canela (Ary Rosa & Glenda Nicácio, BR 2017) and West Indies (Med Hondo, DZ/MR/FR 1979), shorts Pattaki (Everlane Moraes CU 2019) and Everybody Dies! (Nuotama Bodomo, US 2016) as well as the installation Image Frequency Modulation (Ethel Ruth Tawe) at MACA and a collaboration with The Base Bookspace.
From 14 July on the Eye Film Player: (films including) Air Conditioner (Fradique, AN 2020), Atlantique (Mati Diop, SN/FR 2019), Cocote (Nelson Carlo de los Santos Arias, DO 2017) and Cette maison (Miryam Charles, HT/CA/US 2022).
still from The Man Who Envied Women (Yvonne Rainer, US 1985)
Beyond the female gaze
Shifting the Focus: Women Looking At Men, compiled by Korée Wilrycx, investigates the many ways female artists reflect in their work on men and masculinity: from the sensual and erotic to the psychological and academic. They do so through satire (for example in Le bonheur), by reversing the male gaze or by showing the negative consequences the patriarchy has on men, as well as on women.
Wilrycx has selected films that liberate female artists from elements commonly associated with the 'female gaze' ('strong roles for women', the 'feminist film', a 'tender/gentle gaze') – demonstrating that female artists are more than a 'female gaze'. The cinema programme focuses principally on toxic masculinity and includes Towards Tenderness (Alice Diop, FR 2016), I Want To Go Higher (Amanda van Hesteren, NL 2022), The Man Who Envied Women (Yvonne Rainer, US 1985), The Tied-Up Balloon (Binka Zhelyazkova, BG 1967). Joined by an exhibition in MACA featuring work by photographer Angie Dekker, fashion designer Sky Verbeek and filmmaker Amanda van Hesteren.
From 21 July on the Eye Film Player: (films including) Le Bonheur (Agnès Varda, FR 1965), The Ascent (Larisa Shepitko, SU/UA 1977), Diary of An Old Fool (Lili Rademakers, NL/BE 1987), Western (Valeska Grisebach, DE/AT/BG 2017) and Zama (Lucrecia Martel, NL/AR/FR/ES 2017).
Read essays written by the programmers
Online Magazine
Films, talks & events
The programme opens on 14 July with the jointly programmed title Zama (Lucrecia Martel, AR/ES/FR/NL 2017), followed by a party with DJs and a performance by Drag King collective House of Lost Bois.
The programmes take place in Eye Filmmuseum (IJpromenade 1, Amsterdam).
The installations are free to visit and are open daily from 13 July through 18 July, from 15:00 to 20:00 at MACA, Ms. van Riemsdijkweg 61, Amsterdam.
Eye Film Player
The Programmers of the Future each present an additional programme on Eye Film Player. Every week from 7 July, new titles will be available to watch at home.
About Programmers of the Future
A new generation of audiences, programmers and curators is growing up in a fundamentally different and constantly changing society. The cultural arena needs to change to reflect and serve this new, more diverse generation. In response, in 2022 Eye Filmmuseum launched the talent development programme Programmers of the Future, aimed at the new generation of film programmers and curators. During a ten-month training process, the participants learn everything they need to know about film programming, are given the opportunity to share their own ideas and inspire other programmers within the museum. This new cohort starts in the autumn of 2023. Programmers of the Future was made possible thanks to support from Fonds 21 Extra.
Earlier programmes curated by the trainees
Made possible with the help of
still from West Indies (Med Hondo, DZ/MR/FR 1979)