Eye Filmmuseum seen across the river IJ © Marcus Koppen

Eye Filmmuseum, © Marcus Koppen

The museum for film and the art of the moving image in the Netherlands. Visit the exhibition or cinema and discover our collection with more than 50.000 films.

Eye Filmmuseum

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Eye Filmmuseum - Amsterdam

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Karrabing Film Collective, Wutharr Salwater Dreams (2016)

Karrabing Film Collective winner of the 2021 Eye Art & Film Prize

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Vaste presentatie panorama video wall Mike Bink

The most beautiful cinematic equipment in our collection

The presentation is open every day from 10:00 to 19:00 and can be visited with either a film or exhibition ticket.

The most beautiful cinematic equipment in our collection is on display in our permanent presentation.

Still Soul Power 1

Africadelic selected for Eye’s Black Light programme the documentary film Soul Power about the Zaire 74 music festival, featuring legendary performances by James Brown, BB King, Bill Withers, Miriam Makeba en and Cruz.

Soul Power is a documentary film about the famous three-day concert that took place in Kinshasa, Zaire, in 1974. The finest African American rhythm &amp; blues and soul artists and South African bands performed at the event, which accompanied the legendary ‘Rumble in the Jungle’ boxing match between Muhammad Ali and George Foreman. For this documentary, musician Hugh Masekela and producer Stewart Levine worked together with boxing promoter Don King. Screening of the 35mm print from Eye’s collection.

Soul Power

Ryuichi Sakamoto © nss (zakkubalan)

An evening devoted to pop star turned idiosyncratic film composer Ryuichi Sakamoto. His dance performance Time premieres at the Holland Festival. Eye screens a number of films scored by Sakamoto. On this closing evening we will explore his oeuvre in greater depth based on clips and conversations with guests as well as live music.

Born in Tokyo in 1952, Ryuichi Sakamoto burst on the international scene in the 1970s with his pioneering electro band Yellow Magic Orchestra. And the following years have seen him make a number of influential avant-garde solo albums.
 He debuted as a film composer with Merry Christmas, Mr. Lawrence (1983, starring David Bowie) and wrote music for such films as The Last Emperor (Bernardo Bertolucci, 1987) and The Revenant (Alejandro González Iñárritu, 2015). His numerous ‘smaller’ films like Tony Takitani (Jun Ichikawa, 2004), feature music that is every bit as interesting.
In the past 20 years, he has also created a number of interdisciplinary works (opera, dance). Increasingly, stillness and the passing of time have become major themes in his music. A recent highlight was the jubilantly received piano/ambient album async (2017). Time, the multidisciplinary dance performance for which he wrote new music, premieres at the Holland Festival this year.
Moving with ease
On this closing night, we will explore the full scope of Sakamoto’s oeuvre. Few musicians move with such ease between widely varying genres, such as ironic j-pop, gloomy new wave, orchestral film music, ambient and reflective solo piano pieces, glitchy sample electronics, world music and musique concrète.
Some soundtracks clearly anticipate much later work, others draw on previous work. Even so, there are obvious stages to be identified in the development of Sakamoto’s musical identity, either running parallel to or diverging from the artistic Zeitgeist. It will be an evening of live music, clips, presentations and conversations.
Confirmed guests (more TBA) Frank Scheffer, Jimmi Jo Hueting

Sakamoto's Sound

still from Van de koele meren des doods

A stunningly beautiful adaptation of Frederik van Eeden’s 1900 novel. Its protagonist, Hedwig Marga de Fontayne, is the victim of an unhappy marriage, doomed affairs, prostitution and morphine addiction. 4K restoration; double bill with Mai Zetterling’s Amorosa. Preceded by an interview with director Nouchka van Brakel.

Director Nouchka van Brakel turned Frederik van Eeden’s naturalistic novel about the misfortunes of a woman from the upper classes into an astute portrait of the position of women in a patriarchal society. Hedwig Marga de Fontayne (Renée Soutendijk) is beautiful, intelligent and wealthy. She is irresistibly drawn to the men in her circle, but neither marriage or affairs can bring her happiness. A morphine addiction leads her down the road of prostitution to end in the gutters of Paris and, finally, in a psychiatric institution.
Nouchka van Brakel presents an intense psychological portrait of a woman literally driven insane by the constraints of a male-dominated world. Women who want their lives or society to change will be faced with repression, the director once said in an interview. It is the task of a feminist filmmaker to expose the mechanisms. Her interpretation of Frederik van Eeden’s novel proves that commitment and a sumptuously filmed drama for the general public can go hand in hand. Acting, camerawork, art direction and direction were widely acclaimed, the film was the biggest box office hit in the Netherlands in 1982.
Film programmer Lauren Murphy interviews Nouchka van Brakel before the screening of the film.
A double bill with the thematically related Amorosa (1986, Mai Zetterling), about the turbulent life of Swedish writer Agnes von Krusenstjerna.

Van de koele meren des doods

This Is Film 2021 6 Archival Films and VR

The closing session of This is Film! Film Heritage in Practice will explore the Virtual Reality medium in relation to cinema and its apparatus, focusing in particular on the screen in relation to the filmmaker and to the audience, and to the projectionist. Richard Misek, Charlie Shackleton and Oscar Raby will present their VR project A Machine for Viewing (2019).

For this session, Eye has invited Richard Misek, Charlie Shackleton and Oscar Raby to present their A Machine for Viewing (2019), a unique hybrid of real-time VR experience, live performance, and documentary that explores how we now watch films by putting cinema and VR – an old machine for viewing and a new one – face to face.EpisodesEpisode One, Charlie Shackleton’s A Frame of the Mind, explores the struggle of generations of filmmakers to fit the frame of their films within the rigid shape of the cinema screen. The episode allows you to play with reframing movies, dynamically adjusting the aspect ratios of films from Eisenstein’s Battleship Potemkin to Xavier Dolan’s Mommy.Episode Two, A Pillow of Light by Richard Misek, asks how close to the screen we like to sit when we go to the cinema. After allowing you to test out different vantage points, it invites you to the front row. As you approach the screen, the image gradually pixellates and dissolves into light. Moving closer still, you transcend the spatial immersion of VR entirely: your fingers become eyes and you enter into a direct communion with the screen.Episode Three, Manual for a Disassembly of Cinema by Oscar Raby, moves to the projection room, and the various visual technologies that coexist in it: peeling movie posters, handwritten notes, a YouTube video playing on a monitor, and a dangerously overheating projector. As light erupts from the projector’s housing, projection, image, and screen start to merge into each other, and bring the experience back to the most important part of the machine: you.Discussion and filmsIn conversation with Eye’s Chief Curator Giovanna Fossati, the makers will discuss their work, and present a compilation programme of video essays, including Frames and Containers (2017, Charlie Shackleton) and In Praise of Blur (2017, Richard Misek and Martine Beugnet), which form the basis of two episodes of A Machine for Viewing.GuestsOscar Raby is Creative Director of VRTOV, the Melbourne-based virtual reality studio behind Assent, Easter Rising, The Turning Forest, and A Thin Black Line. Assent was named one of the top interactive documentaries of the last decade by IDFA DocLab.Richard Misek is a found footage Filmmaker and Academic. He is author of the book ‘Chromatic Cinema’ (2010) and his articles have been published in numerous academic journals. He has led two UK Arts and Humanities Research Council projects on found footage and the video essay. He is the director of the feature-length essay film Rohmer in Paris (2013).Charlie Shackleton Writer and Filmmaker best known for the feature-length essay films Beyond Clueless (2014) and Fear Itself (2016). His work has been shown at festivals including Sundance, SXSW, and Rotterdam, and on platforms including Netflix and the BBC iPlayer. As a critic, Shackleton writes regularly for The Guardian and Sight &amp; Sound.Eye XtendedEye also has a special VR programme, Xtended, in which installations by artists and filmmakers such as Alejandro G. Iñárritu, Laurie Anderson, Marina Abramović and Tsai Ming-liang have been presented.

#6: Archival films and VR

still from The Vanishing (Spoorloos) (George Sluizer, NL 1988)

still The Vanishing (Spoorloos)

In cinemas and on the Eye Film Player

Created by Eye, this streaming platform already contains almost 40 films restored by Eye, among them Spoorloos (1988), Shoes (1916) and Wan Pipel (1976).

This year Eye Filmmuseum celebrates its 75th anniversary by releasing 75 restored works from its collection on screen and on Eye Film Player throughout the year.

75 Restorations

campaign image Vive le cinéma!, work by Leopold Emmen

Lucrecia Martel, Leopold Emmen, Lemohang Jeremiah Mosese, Carlos Reygadas and Jia Zhang-ke

The filmmakers — Lucrecia Martel (South America), Leopold Emmen (Europe), Lemohang Jeremiah Mosese (Africa), Carlos Reygadas (North America) and Jia Zhang-ke (Asia) — were each invited to make a work for the exhibition that exploits the three-dimensional gallery space rather than the two-dimensional cinema screen. For some of them, it was the first time they had created a cinematographic installation that explores the boundaries of their work and of the art of film in general.

Exhibition with spatial film art by five important directors

Vive le cinéma! Art & film

campaign image This Is Film! 2021

Film heritage in practice

Together with invited guests, each of the six sessions will touch upon different topics, varying from the colorization of black-and-white WWI footage, to the use of archival content in compilation and documentary films, VR or VJ performances.

This Is Film 2021 campagnebeeld kopie

Public lecture series devoted to notable projects in the fields of film restoration and film heritage.

This is Film! 2021

Illustration Brian Elstak

Representation of black identity in films

Eye has invited ten guest curators to create talks, events and performances. Black Light also features theatre, dance, interviews and round table talks.

Black Light

placeholder blur Wong Kar Wai

In Eye and nationwide

Digital restorations

Urban life, crime, love and music are fused into an intoxicating mix in Hong Kong director Wong Kar Wai’s stylish films. Together with virtuoso cameraman Christopher Doyle, Wong Kar Wai immerses his audience in his lyrical and melancholy world with radical framing, slow motion, a deluge of music, heavy rainfalls and tragic love affairs.

Still In the Mood For Love

Six films by the master of restrained emotion. Six films about tragic love, presented in virtuoso framed images. Intoxicating movies, which will you'll fall for in an instant.

Wong Kar Wai

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show for: 321646 2021-07-11 19:15:00

show for: 322521 2021-06-24 19:30:00

Film programmer Lauren Murphy interviews Nouchka van Brakel before the screening of the film.

show for: 328781 2021-05-28 18:30:00

show for: 71681 2021-05-19 15:30:00

Holland Festival 2021

IFFR 2021

Klassiekers

Voor kinderen

Special screenings

Friday 28 May

Van de koele meren des doods (with introduction)

Thursday 24 June

Sakamoto's Sound (with live music)

Sunday 11 July

Soul Power (with Q&A)

Wednesday 19 May