Canon of Dutch Cinema
In 2007, the festival presented their Canon of Dutch Cinema (Canon van de Nederlandse Film), containing sixteen monumental films in Dutch film history. The list included the following films:
- The Misadventure of a French Gentleman Without Pants at the Zandvoort Beach (Willy Mullens and Alberts Frères, 1905)
- A Carmen of the North (Maurits Binger, 1919)
- Rain (Joris Ivens, 1929)
- The Tars (Jaap Speyer, 1934)
- Houen zo! (Herman van der Horst, 1952)
- Fanfare (Bert Haanstra, 1958)
- Like Two Drops of Water (Fons Rademakers, 1963)
- Blind Kind (Johan van der Keuken, 1964)
- Ik kom wat later naar Madra (Adriaan Ditvoorst, 1965)
- Living (Frans Zwartjes, 1971)
- Turkish Delight (Paul Verhoeven, 1973)
- Flodder (Dick Maas, 1986)
- The Northerners (Alex van Warmerdam, 1992)
- The Pocket-knife (Ben Sombogaart, 1992)
- Het is een schone dag geweest (Jos de Putter, 1993)
- Father and Daughter (Michaël Dudok de Wit, 2000)
Read more about this topic: Netherlands Film Festival
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“Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman we don’t start measuring her limbs.”
—Pablo Picasso (1881–1973)
“Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman we don’t start measuring her limbs.”
—Pablo Picasso (1881–1973)
“‘Tis probable Religion after this
Came next in order; which they could not miss.
How could the Dutch but be converted, when
The Apostles were so many fishermen?
Besides the waters of themselves did rise,
And, as their land, so them did re-baptize.”
—Andrew Marvell (1621–1678)
“Compare ... the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.”
—John Berger (b. 1926)