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 The Truth (La verite)

Brigitte Bardot delivers a masterful performance in this unjustly forgotten film by Clouzot. La vérité, which was restored a few years ago, now premieres in the Netherlands.

Birgitte Bardot’s role of the young and impetuous Dominique Marceau is widely acclaimed as her best performance ever. Dominique’s rash break with her bourgeois background and a series of affairs with young Paris intellectuals ends with the charge of having killed Gilbert, a promising young conductor.
Was it a crime of passion, an act of desperation or simply an accident? Witness statements and the suspect’s account present an increasingly complex image of the relationship between Dominique and Gilbert.
Impulsive
 The Oscar-nominated La vérité, known internationally as The Truth, delves into Dominique’s past and her struggle to find a foothold in the city. Clouzot (Le salaire de la peur, Les diaboliques) paints a perceptive portrait of an impulsive young woman who is misunderstood and mistreated by those around her. As such, La vérité levels harsh criticism against a hypocritical and moralistic society.
4K restoration by Sony Pictures Entertainment, in partnership with The Film Foundation and RT Features.

The Truth

Still Good Time Josh Safdie Benny Safdie US 2017 0

The neo-noir film that put Ben & Josh Safdie on the map as filmmakers. With a lead role for Robert Pattinson as a failed bank robber who tries to pick up the pieces with his brother and robber companion. The first film score written by electro legend Oneohtrix Point Never is full of icy synths and dark soundscapes.

Like his admirer, and later collaborator Sakamoto, Daniel Lopatin (aka Oneohtrix Point Never) had already made a name for himself as an electro pioneer when he was asked by the Safdie brothers to score their thriller Good Time.Lopatin’s first film score switches between sultry ambient and nervous synthesizers, making it the perfect support for this story about two tragic brothers (played by Robert Pattinson and Benny Safdie) who try to pick up the pieces following a heist gone wrong. In between the ensuing panic and misery, there are just enough gleams of hope and reflection, which beautifully resounds in the ballad The Pure and the Damned written for the film and performed by Iggy Pop.

Good Time

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

This Is Film 2021 5 Bits and Pieces and the VJ

For the fifth session of This is Film! Film Heritage in Practice, Italian VJ and Film Scholar Rossella Catanese will perform an audiovisual immersive VJ set, by mixing and manipulating Eye’s unique Bits&Pieces collection. She will be accompanied by electronic musician Jan Willem Hagenbeek.

At the end of the ’80s, the Filmmuseum initiated a practice of archival film re-use by creating compilation reels of film fragments that could not be identified. This practice is still carried out today by the Filmmuseum’s curators and the collected film fragments, that otherwise might have been disregarded, from the Bits &amp; Pieces collection: today containing 58 reels and 647 fragments. Reuse of the Bits &amp; Pieces Collection Over the years, the Bits &amp; Pieces collection came to be the source of many new compilations. Artists such as Fiona Tan, Peter Delpeut and Gustav Deutsch drew amply on this collection for their work. Nowadays, digitization facilitates the use of single B&amp;P fragments, and makes it easier to open the collection up to bigger audiences through several projects. An example of a recent initiative is Jan Bot, a computer programme that creates experimental films by using exclusively fragments from the B&amp;P collection that match current trending topics. The films made by Jan Bot are daily published on Facebook, Twitter and Instagram. In the past, the B&amp;P collection has been used for projections within museum exhibitions or dance events and, currently, it is utilized to create compilations to be shown on hundreds of “urban screens” located at train stations in the Netherlands. Interview In conversation with Eye’s Chief Curator Giovanna Fossati, Rossella Catanese will make the audience part of her experiences as a VJ working with found footage material, discussing topics such as access to archival collections, and the unique character of a collection like Bits &amp; Pieces. Guest Rossella Catanese is the author of the book Futurist Cinema. Studies on Italian Avant-garde Film (2017). She is a postdoc researcher in Film Studies at the University of Udine and adjunct professor at NYU Florence. She also regularly gives live performances as a VJ.

#5: Bits and Pieces and the VJ

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

Tickets sales start mid-May

Films, talks & events

Special attention will also be paid to Dutch filmmaker Frank Scheffer, who made a name for himself with uniquely designed music documentaries. His latest production, the opera film Si Fan, will have its world premiere.

During Holland Festival, Eye will pay special attention to associate artist Ryuichi Sakamoto and Dutch filmmaker Frank Scheffer.

Holland Festival 2021

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

show for: 304655 2021-05-31 18:45:00

Before the film a screening of a pre-recorded interview with Daniel Lopatin / Oneohtrix Point Never (to be confirmed).

Special screenings

Monday 31 May

The Truth (with introduction)

Friday 11 June

Good Time (with video message)

Thursday 24 June

Sakamoto's Sound (with live music)

Today