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High-heels in (1979), dir. Frans Zwartjes

Detailing Trauma: A Poetic Anatomy (Sightline Books)

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Spectator (dir. Frans Zwartjes, 1970)

Frans Zwartjes is a very peculiar, extraordinary filmmaker. His film all seem to exist completely disconnected from the real world. While one can assume this is at least partially due to the fact that he almost exclusively shoots interiors, the few times that his camera deviates into the outside world his unique lens still shows the world in utter disconnect. I spent a weekend watching 14 of his films (thirteen shorts and one feature), and at the end I felt like I had experienced the uncanny. Often times while viewing a Zwartjes film one gets the feeling that they’re not supposed to be watching the film, that their act of viewing is transcending simple voyeurism and actually attaining violation. And this is why Zwartjes is amazing.

Frans Zwartjes is a very peculiar, extraordinary filmmaker. His film all seem to exist completely disconnected from the real world. While one can assume this is at least partially due to the fact that he almost exclusively shoots interiors, the few times that his camera deviates into the outside world his unique lens still shows the world in utter disconnect. I spent a weekend watching 14 of his films (thirteen shorts and one feature), and at the end I felt like I had experienced the uncanny. Often times while viewing a Zwartjes film one gets the feeling that they’re not supposed to be watching the film, that their act of viewing is transcending simple voyeurism and actually attaining violation. And this is why Zwartjes is amazing.

Pentimento (1980) - Frans Zwartjes

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Sorbet III (Frans Zwartjes, 1968)

Benjamin Zwartjes's immediate neighbors in , are 24 individuals in 14 households.

It’s no surprise, given the power of the film, that Zwartjes himself calls it his favorite. It’s an unmatched examination of architecture and physical space representing a poetic emotional state, and it’s a testament to a personalized sense of aesthetics.