How Did You Know I Was in Trouble
Observations of a woman with a Japanese mask dressed in a large painted robe. She moves along the ground amid a (photographed or painted) backdrop of trees and a Japanese window. In the beginning, she is restless and her movements occasionally reveal her naked body beneath the robe. After a climax, also in the music, she is quiet and introverted.
Frans Zwartjes
Director
Casts & Crew
Also Directed by Frans Zwartjes
Zwartjes' reflections on Beckett, situated between trees.
Set on the landing and the stairs of Zwartjes’ new house, then still empty, in The Hague. The filmmaker suggests a mysterious and complex space by using a ‘floating’ camera to film a number of crawling, creeping personages. (MUBI)
Frans Zwartjes' two visions of womanhood in Behind Your Walls have all the febrile frustration associated with his previous work. Flesh looks like crisp paper about to be despoiled, a torpid heat reduces movement to fidgets and hesitations. - MIFF
Frans Zwartjes' adaptation of Euripides' tragedy, originally produced for stage by the actresses Josée Ruiter and Çanci Geraerdts.
First film by Paul de Nooijer, in collaboration with his artistic father Frans Zwartjes. Moving Stills shows a series of photographs by Françoise de Nooijer, which are joined, by means of editing and colour effects, and turned into a moving picture. The erotic image gets an explosive charge. (filmcommission.nl)
A selection of never-before-seen cinema sketches by Zwartjes, compiled by Stanley Schtinter with music from Zwartjes' record Tapes I.
Two girls nestle beside each other on a couch and try desperately to conceal their mutual craving. Sexuality is suggested through the weird rhythm of the film's editing and the tactile quality of the images. - MIFF
A man in drag reaches for some sorbet and then eats it.
This film is dominated by an icy blue. In a monumental building a group of scientists submit women to obscure experiments, in which sexuality and cruelty constantly merge into one another. When the film was released, this horrifying game of power and powerlessness was condemned severely by a militant group of feminists. The criticism was undeserved. After all, 'Pentimento' is an art-historical term for a hidden image underneath the actual image giving an indication of how the latter evolved to its current state. The film does not endorse the lopsided power relations in our world but actually challenges them.
A woman plays with a bird as the camera's gaze is drawn to her legs.
