Volume 5, Issue 11
13 - 19 MARCH 2008
The books issue
On the mountain with Johan Cruijff
Words over emotions The hard-boiled light verse of Wietske Loebis page 6
Russell Shorto, a writer with a day job page 7 Books escape the page page 4 / Books define the window page 5 Simon Vinkenoog writes from this side of the grave page 5 ART: Comic books. Jewish comic books p. 11 / FILM: Bob Dylan: trapped in the body of one womanâ&#x20AC;&#x201D;and five men p. 18
Short List . . . . . . . . . . . . .9 Music/Clubs . . . . . . . . . .12 Gay & Lesbian . . . . . . . .14 Stage . . . . . . . . . . . . . . . .14 Art . . . . . . . . . . . . . . . . . .15 Events . . . . . . . . . . . . . . .16 Dining . . . . . . . . . . . . . . .17 Film . . . . . . . . . . . . . . . . .18 Classifieds/Comics . . . .21
13-19 March 2008
ATTACHMENTS In this issue and... Books are still news: the national Boekenweek is currently in full swing... Amsterdam will become the World Book Capital in April... World’s biggest book market will take place here on 18 May... 10,000 books plundered by the Nazis will finally return to their rightful owner... EISNER, a new national literary mag dedicated to the graphic novel, will appear from autumn 2008... Charles Bukowski’s LA home has been made an official monument... The Lord of the Rings was voted by the Dutch public as best foreign book ever... The Boer zoekt Vrouw cookbook has just been released... Arnon Grunberg has bought a bullet-proof vest... One in four books is bought via internet... Releasing digitised books for free actually boosts the sales of hard copy books... Amazon.com plans to expand into the wine market... With the buying of a six pack of a certain beer brand in a supermarket this week, you will receive a new book by a prominent Dutch author... If you interlace two telephone books page by page, they will be impossible to separate...
On the cover FACIAL EXPRESSION Photo by Stephan Raaijmakers www.xs4all.nl/~srphotos
Next week Water, Nederpop and the Chinese
Letters Got an opinion? We want to hear it. firstname.lastname@example.org
Amsterdam Weekly BV De Ruyterkade 106, 1011 AB Amsterdam Tel: 020 522 5200 Fax: 020 620 1666 www.amsterdamweekly.nl General info: email@example.com Agenda listings: firstname.lastname@example.org Advertising: email@example.com Classifieds: firstname.lastname@example.org PUBLISHER Todd Savage EDITOR Steve Korver ASSISTANT EDITOR Nina Siegal AGENDA EDITOR Steven McCarron FILM EDITOR Julie Phillips COPY EDITOR Mark Wedin EDITORIAL ASSISTANT Sarah Gehrke EDITORIAL INTERN Robin Kawakami ART DIRECTOR Bas Morsch PRODUCTION MANAGER Karen Willey PRODUCTION DESIGNER Russell Joyce SENIOR ACCOUNT MANAGER Carolina Salazar ACCOUNT MANAGERS Marc Devèze, Simone Klomp, Floortje Mennen FINANCE ASSISTANT Simone Choi DISTRIBUTION MANAGER Patrick van der Klugt FINANCIAL ADVISER Kurt Schmidt (Veresis Consulting) PRINTER Corelio Printing Amsterdam Weekly is published every week on Wednesday and is available free at locations all over Amsterdam. Subscriptions are available for €60 per six months within the Netherlands and €90 per six months within Europe. Agenda submissions are welcome, at least two weeks in advance. New contributors are invited to visit Amsterdam Weekly’s website for contributor guidelines. Contents of Amsterdam Weekly (ISSN 1872-3268) are copyright 2008 Amsterdam Weekly BV. All rights reserved.
10 LOST LOCKS by Arnoud Holleman
13-19 March 2008
AROUND TOWN Open source open pockets.
Books escape the page Will free digital books increase hard copy sales? By Megan Roberts The Dutch Book Foundation recently revealed that in 2007 a record number of books—more than 45 million—were sold in the Netherlands. Combined with the news that, from 23 April 2008, Amsterdam will be the UNESCO World Book Capital, it would seem that our city, historically renowned as a literary hub, is entrenching its international reputation for the printed word. But will this reputation outlast the printing of books as we know it? On the eve of the official opening of the year-long World Book Capital event, Amsterdam Public Library will host an international symposium entitled ‘The Book in the Internet Era: Copyright and the Future for Authors, Publishers and Libraries’. ‘Digitisation creates all new possibilities to open up and make available information,’ says Robbert Vrij, whose many titles include chair of the international copyright symposium, member of
the board of Amsterdam World Book Capital and representative of the Dutch Publishers’ Association. ‘Because of digitisation, you can spread information to everybody. This is a new and exciting opportunity, and this is why we are on the forefront of digital publishing.’ ‘Through digitisation,’ continues Vrij, ‘information that has been published stays perennially available. Firstly, because when a publisher’s catalogue is made available in the digital world, it remains searchable, and once information has been opened up, people can find it and contact its publisher. Secondly, books need never go out of print.’ But while few would argue against the preservation and improved dissemination of our cultural heritage in theory, the process of digitisation is not without its problems in practice. In the course of digitising its entire collection—some 30 million items—the Dutch Royal Library has met criticism for separating some of its books from their bindings in order to scan them in the most efficient and economic way. At the same time, the launch of Google’s Book Search facility—which, working with some of the world’s preeminent libraries, aims to scan around 15 million books over the next 10 years, allowing potential readers to search their content online—promises to create a kind of digital Library of Babel. But Google has been threatened with lawsuits from both the American Authors’ Guild and the Association of American Publishers. Debates about ‘fair use’ of
copyrighted material have been raging ever since. As Janne Rijkers, coordinator and legal adviser at the Dutch Writers’ Guild, explains, ‘Copyrights are harder to enforce in digital areas for both authors and their publishers. But uploading copyrighted texts, without permission from the copyright holder, is illegal. ‘There are not yet standard contracts between authors and publishers about new digital means to exploit artistic work. One area of concern is that short texts can be easily published, copied and spread through the internet without permission. This way authors miss out on income from their work. Copyright is in many cases the only source of income for an author, and authors supply society with content, so copyright has to be defended.’ Vrij agrees: ‘Copyright remains the backbone of the reading industry. Without copyright, there would be no new content. All new developments must operate within the copyright law environment, but new agreements must be reached or developed. The Copyright Symposium will allow all elements of the book industry to come together and see what developments are coming along and how they can be dealt with.’ Rijkers cites this same need for an open debate on how ‘copyright holders and users, for instance libraries, can work together to find satisfactory solutions so that authors can successfully find new ways to exploit their work and make more money out of their writings and therefore not only boost creativity but also boost the economy.’ Scott Pack, commercial director of The Friday Project (TFP), the world’s first exclusively web-to-print publisher, says that while copyright protection is absolutely necessary, publishers and authors shouldn’t automatically assume online exposure will have a negative economic effect. In 2006, TFP made the bold decision to release close to 90 per cent of their books online under a Creative Commons licence, a relaxation of ancient copyright laws that means (dependent on the type of licence chosen) users are able to download their books for free. ‘By offering the book in this way, we will widen its audience and so increase the potential market for purchases of the print version,’ says Pack on their website www.thefridayproject.co.uk. And he is right: physical copies of The Friday Projects’ books continue to sell beyond expectation. Change will always be both exciting and unsettling, especially when traditional business models and longstanding laws prove in need of renegotiation. Digitisation is no different. But as Vrij says, ‘There may undoubtedly be some problems, but also possibilities, with new ways to exploit content and new distribution channels. Information available is like an open book, and an open book equates to an open mind.’ www.amsterdamworldbookcapital.com
13-19 March 2008
Open bindings opens purses.
Window dressing The art of pimping your books. By Rebecca Wilson While generally avoiding clothing store gimmicks and their sexy mannequins, the dressing of bookshop windows in a competitively eye-catching manner can be quite a challenge. Lidewijde Paris, who now heads the new Amsterdam publishing house Ailantus, but once worked as a bookshop window dresser, agrees. ‘How do you position a book so that it attracts the passer-by’s attention?’ This week, that question gets full attention as Boekblad, the trade magazine for Dutch publishers and booksellers, holds their annual nationwide boekenweek win-
Yes, books. They became important from the moment I could read. And they never stilled the insatiable thirst for knowledge for whatever can be expressed in words. And bodies. Those you meet. Your mother, father, brothers and sisters. I had a darling divorced mother and everything printed matter could offer. Early on, I started writing and never stopped. Meanwhile, I fathered four children and am happily married. Body and soul language. In other news... Seventeen Dutch and Flemish authors, who have given extensive interviews to Margot Vanderstraeten of the Belgian newspaper De Morgen during the last year and a half, see themselves connected in a recently published book, featuring the original and unique photographs of Stephan Vanfleteren, entitled Schrijvers gaan niet dood. The interviewer explains the title in her foreword: ‘Writers don’t die. Their words and sentences, their stories and per-
dow-dressing contest. Editor-in-chief Lucie Th Vermij: ‘We look at pulling power, originality and choice of material.’ So far, the only Amsterdam bookshop to have won the six-year-old contest is Linnaeus Boekhandel on Middenweg. In 2003, when the contest theme was ‘Death’, they won by creating a tableau reminiscent of a 17thcentury vanitas painting. Bookseller Geraldine Hendriksen recalls some of the props they used to represent the still life painting style: ‘We had a skull, a keeled over wine glass and those really old-fashioned looking tulips.’ For this year’s contest, with its theme of ‘Old Age’, Linnaeus will again look to the past by transforming its modern glass shop front into a ‘ye olde bookshoppe’, complete with heavy velvet drapes, a sign in old lettering and a shop window displaying old and new editions of classics. This could be another prizewinner, and definitely worth dropping by for a look. The obvious place to head next is Spui with its many bookshops, its weekly book market and the countless writers and pub-
lishers procrastinating in the surrounding cafes. At the American Book Center, employee Nadine Kaplanian had her boekenweek shop window ready a week in advance: a verdant display with potted plants emblematic of a deeper meaning. The Dutch refer to old people with nothing to do with their lives as ‘sitting behind the geraniums’. ‘Only we couldn’t find those, so we got some cyclamen instead,’ says Kaplanian. The ABC offset the pink flowers with books celebrating aged icons like Nelson Mandela, Audrey Hepburn and Coco Chanel who managed to stay in front of those plants. Across the street, Athenaeum Booksellers are exhibiting photographs of elderly writers by Belgian photographer Stephan Vanfleteren. They come from the book Schrijvers gaan niet dood [‘Writers Don’t Die’], a collection of interviews with some of the most influential Dutch-language authors of the older generation by Margot Vanderstraeten, published last week by Atlas [see column by Simon Vinkenoog, below]. It’s a typical
On books & bodies By Simon Vinkenoog, a non-dead writer sonae, keep on living. In the younger generation. And in their oeuvre.’ The common denominator of the book is that all the writers were born before 1933. The oldest, Leo Vroman (b. 1915), lives with his bride of 60 years, Tineke, in Texas, and surprises the Dutch literary scene every now and then with an incredibly ‘simple’ book of outstanding poems. His latest is entitled: Nee, nog niet dood [‘No, not yet dead’]. The appearance of Vanderstraeten’s book coincides with other books published this season on the occasion of this year’s boekenweek theme: ‘Old Age—The Third Age and Literature’.
Books, both fiction and non-fiction, are being released concerning baby boomers and novogeronts (‘new seniors’), the disappearance of the memory theatre, dementia, demographic aspects and the usual wheeling and dealing with the inevitable flaming out of one’s lifespan on Earth. The writers on these openhearted pages have for the most part an open mind about Death. ‘I cannot bother about my own death, that doesn’t make sense, we can’t have control of her coming,’ reflects Remco Campert (b. 1929). Volkskrant editor Ed Schilders rated the book **** and entitled his review: ‘Blijmoedig aan de afgrond staan’ [‘Standing
Athenaeum window, where art and photography often feature. ‘We think of ourselves as a cultural institution rather than a bookshop. And when writers finally do die, Athenaeum always dedicates a window to them. Also, since we never sell our window space to publishers, like chains do, we can react to current events,’ says Schaap. ‘We had a giant cut out of Jan Wolkers in the basement, a remnant from when he wrote Zomerhitte, the boekenweekgeschenk of 2005. When he died recently, I immediately put it in the window, and it was featured on the television news covering of his death.’ Independent bookstores, which usually lack long term plans and budgets, tend to rely heavily on the creativity of their staff for window dressing. Schaap: ‘We’re not required to generate extra sales with our windows.’ Yet Paris thinks that’s a mistake. ‘Window dressing is a much underestimated sales instrument in the book world,’ she finds. ‘You can sell books you could never get rid of otherwise if you make a nice window around them.’ And you can attract people who don’t normally enter the shop. ‘I hardly saw any black people in WH Smith,’ remembers Paris. ‘But they came when I made a window, with no budget of course, about the release of Nelson Mandela. I just used the British newspapers we were selling and a chessboard with the black king on a white square.’ Perhaps the best window to visit during boekenweek is that of 80-year-old Ko van Leest’s bookshop on Banstraat in the classy Concertgebouw neighbourhood. While he doesn’t busy himself with special windowdressing, he does write little cards with information on the books he feels are worthy to grace his shop window. Van Leest, who has a preference for hard covers and a large collection of Rainer Maria Rilke, only sells what he loves. And since he’s kind of the embodiment of this year’s ageing theme, why leave it at window shopping? Ring the bell and he might even let you in, pour you a sherry and regale you with tales of more than 50 years of bookselling. That’s some dressing.
joyfully at the Abyss’]. And that’s exactly where it all started for these writers: the Second World War was and remains their main experience. Some dance to remember, some dance to forget. Some don’t dance at all. Te salutant: Paul de Wispelaere, Ivo Michiels, Henk Romijn Meijer (who died a few weeks back), Armando, Jef Geeraerts, Leo Vroman, Christine D’haen, Ward Ruyslinck, Harry Mulisch, Willy Spillebeen, Willem van Maanen, Aster Berkhof, Remco Campert, Hugo Raes, Jos Vandeloo and Hella S Haasse (b. 1918, Grande Dame!). Oh, and myself, who is looking forward to becoming an octogenarian this summer. Notably absent from this list are Jan Wolkers—who was looking forward to his own interview just before his death last October—and Hugo Claus, who is, of course, often mentioned in the book. Enjoy your reading. That’s why I have been writing this. Join the world! Read Dutch!
13-19 March 2008
THE (NOT SO) LIGHT VERSE OF
The poet and songwriter Wietske Loebis is quick to confess: ‘I don’t do emotions. All that matters to me is technique.’ An intriguing remark. Upon reading her poems, one does in fact stumble upon a lot of emotions—but indeed, not of the willow-weep-for-me (female?) kind of style. Her verse is rather hardboiled. It’s funny and it’s got rhythm. She also prefers to use common, un-poetic words, which in her hands become strangely poetic. Loebis was born in Leiden in 1974. She grew up in Zwolle and moved to Amsterdam in 2000. She currently works as an editor for VARA TV Magazine. In her spare time she writes poems and songs, which have recently been collected in Cavia’s begin September [‘Guinea pigs, early September’]. ‘Het was zo’n kalme zondag / Zo’n mooie dag in maart / Mijn borsten in de berm en / Mijn vingers in de vaart.’—from ‘Spoorwegovergang’ [‘Railroad crossing’]. Loebis: ‘My poems often end badly [laughs]. In daily life I am a cheerful person, but I think poetry gets most interesting when it describes the things that hurt. The things we’d rather not talk about. The starting point of my poems is an emotion, but then I have to put lots of work in to keep that emotion out! Show, don’t tell. That’s what it’s all about. I hope to never get sentimental. When I became a mom I was afraid to get sentimental, looking at my son in his cot with tears in my eyes... But he is fifteen months now and it still hasn’t happened! [laughs].’ ‘Zij lacht / Hij lacht / De avond biedt nog zoveel kansen / Zij wil / Hij wil / De waxinelichtjes op de tafel dansen.—from ‘Waxinelichtjes’ [‘Tea lights’]. ‘Melody is very important. And technique is very important. I always have a
Wietske Loebis’s poetry debut Cavia’s begin September is a wonderful collection of funny, sardonic poems and songs. An interview in verse. BY MARIE-CLAIRE MELZER PHOTO BY STEPHAN RAAIJMAKERS
melody in my head, no matter if it’s going to be a poem or a song. In fact, I am often counting when I am writing, counting the syllables to check the rhythm. And as the wording has to be rhythmic, an unexpected word can pop up, turning everything upside down. And sometimes the rhyming leads me in a completely new direction. Often I don’t know myself what is going to happen next in the poem!’ ‘Max: een roes van sigarettenpeuken / Onbestemde pillen, vrouwen, bier / En ik? Jezus, ik heb een inbouwkeuken / Heel mijn leven klemvast op papier / Maar niet nu, niet hier / Dus ik lieg maar wat: “I...kkk schrijf gedichten / En zo...” Ik neem onhandig nog een slok / Voel behoefte om het toe te lichten / In het donker in het fietsenhok’—from ‘Max’. ‘Love is such a big thing. Even after a lifetime of it, one can still not grasp it. That’s why I prefer to place it in a recognisable setting, such as a school reunion. To meet your old high school hero and suddenly feel very small again. I think everyone can relate to that.’ ‘Maar liefde kan ook blind van woede smijten met servies, Of ’n bierviltje verstoppen met het nummer van Marlies / De Liefde sleept zich voort, bedrogen, bleek of afgemat / Met uitgelopen oogschaduw hard huilend door de stad.—
from ‘Liefdeslied’ [‘Lovesong’]. ‘There is often a sense of cruelty or sadness in what I write, but hopefully it’s also funny. The people I admire all have that humorous touch: Ivo de Wijs, Drs P, Annie MG Schmidt, Jan Boerstoel, et cetera. Light verse is often misunderstood. Critics say it’s too easy and superficial. That hurts, because it takes a lot of work to make it light, to keep the language clear. It’s harder to get recognition than with socalled “serious” poetry. As if humorous poems are less deep! Ivo de Wijs is my big example. I’ve been writing poems and songs for as long as I can remember. When I was fifteen I heard a tape from Ivo de Wijs and I was deeply impressed. His songs are funny, but with a gloomy undertone, and they are very clever without showing off, and never elitist. I wrote him a letter to express my admiration and ask for advice and he sent me back a four-page reply! That was very nice of him. The best advice he gave me? “Don’t listen to people who don’t know what they are talking about.” [laughs].’ ‘Wat zou ik toch graag weer zoals vroeger / In alle mistigheid vreemd willen gaan / En thuiskomen om zes uur in de morgen / M’n haren in de war - moe maar voldaan—from ‘Vreemd’ [‘Strange’] ‘We-e-ll, I have a husband and a child now, and we are thinking of buying a
house... But the poems are written over a period of years. When I had just moved to Amsterdam I was single, so I guess I could be found around town at times... And poetry isn’t necessarily about the things you do, but about desires and dreams—the wish to get away from it all... Don’t get me wrong, though, I am a very happy mom! [laughs].’ ‘Hoe soepel zij ons in verwarring brengt / Gaat buiten alle voorstellingsvermogen / Hoe zij een zoetje door haar koffie mengt / Exceptioneel en zonder mededogen.’— from ‘De stagiare’ [‘The Intern’]. ‘Perhaps there is an old man hiding inside me! [laughs]. Most of the writers I admire are older and male. And I must say I do like the company of elder men. I don’t know why. Maybe it’s their laconic outlook on life that appeals to me.’ ‘Overal, overal vat De Liefde vlam / En vanochtend lag ‘ie zomaar naast me / In mijn bed in Amsterdam.—from ‘De liefde zingt [‘Love sings’]. ‘Amsterdam is definitely a poetic city. It was only after I moved to Amsterdam that I really started writing. I grew up in Zwolle and I went to college there, but I always dreamed of one day going to Amsterdam. I figured this was the place where it all happened, where all the writers and cool people lived! The year 2000 was a turning point. My mother died, and I broke up with my long-time boyfriend. So, at twenty-six, I took the step. I knew only one person in Amsterdam and I was boarding in a small room, but I enjoyed every minute of it. Most of this book was created here in Amsterdam.’ Cavia’s begin September is published by Wietske Loebis, Nijgh & Van Ditmar. See www.wietskeloebis.nl.
13-19 March 2008
THE NOT SO LIGHT DAY JOB OF
Writers don’t generally have to do much organising, so Russell Shorto’s new job isn’t always easy for him. When Shorto became head of the John Adams Institute in January, one of the first things on his schedule was a reading by the prominent economist Robert Reich. ‘It was in The Hague,’ recalls Shorto, ‘and because of who he is and the nature of it, a lot of the Dutch government was there—I think it was about five hundred people. And I had to do all these, for me, very painful things, like arrange a formal dinner at the Hotel des Indes for eighteen people including Minister [Maria] van der Hoeven [of Economic Affairs]. And me trying to do the seating placement—to me this is absolute suffering. ‘But a lot of people who are part of the John Adams family, who like to belong to it, of course they like high-profile things like that. To me, [novelist] Amy Bloom is more interesting.’ Yet Shorto himself occupies a highprofile position in the small world of Dutch-American cultural exchange. Even before he moved here permanently last fall, he had an active sideline as a sort of cultural translator or figurehead for Dutch-American relations. A feature writer for New York Times Magazine, he owes his position to a book he published in 2004. The Island at the Center of the World is a history of the original Manhattan settlement of New Amsterdam, in which Shorto contended that the city’s relatively open and tolerant climate was a result of Dutch influence. When he started the book, Shorto didn’t speak Dutch and knew relatively little about the modern Netherlands. But after it was published he began getting invitations to appear in the Netherlands, at such functions as Dutch-American Friendship Day, alongside Prime Minister Balkenende. In
Russell Shorto, writer of The Island at the Center of the World, finds himself trapped between two worlds as the director of John Adams Institute. BY JULIE PHILIPS PHOTO BY STEPHAN RAAIJMAKERS
2005, Shorto moved to Amsterdam for a year, using the city as a base while he researched his upcoming book about the Enlightenment and the fate of one philosopher’s mortal remains: Descartes’ Bones: A Skeletal History of the Conflict Between Faith and Reason, which will be published in October. He returned to New York with his wife and two daughters, but missed Amsterdam and talked the family into returning last fall. He took the John Adams job partly because it would allow him to stay. The John Adams Institute has its office in the West India House on the Herenmarkt, the building from which the Dutch West India Company once administered its colony on the island of Manhattan. The office itself is tiny, however: three employees in two pleasant, book-lined rooms. Unlike Maison Descartes or the GoetheInstitut, the John Adams doesn’t organise language courses, art exhibitions or film festivals. Founded by a group of Dutch people who were interested in American literature, and funded mainly by contributions from individual members and Dutch corporate sponsors, it does one thing: bring writers here to read from and speak about their work. The speakers don’t necessarily have to be American. Last year’s guests included several prominent Brits: the food writer Nigella Lawson, historian Niall Ferguson,
philosopher of science Michael Ruse. This June, Shorto has scheduled a reading by the British historian Lisa Jardine, who is publishing a study of Dutch-English cultural exchange. They don’t even have to be writers. In January, the John Adams organised—at short notice—a discussion with the outspoken American musician Steve Earle. In fact, in this American election year, Shorto has decided to focus less on literature and more on American politics. (He himself spoke recently at a Democrats Abroad election rally in De Balie.) With help from the Dutch TV news programme Nova, he had hoped to do a Q&A by remote link with one of the presidential candidates. But, ‘it very quickly became apparent that that wasn’t going to happen. Their campaigns are so scripted and they’re so risk averse. And to do something like that would put them in such a free-form atmosphere—none of them were interested at all.’ Instead, he organised an appearance by Madeleine Albright and is putting together, with the Universiteit van Amsterdam, a series of free readings on topics from American foreign policy to health care. The next one, on 18 March, will feature International Herald Tribune columnist William Pfaff. The next general reading, on 21 April, is by political journalist Steve Coll for his forthcoming book on
the Bin Laden family. In the past, the actual process of cultural translation has been a real problem at John Adams readings. They have always had a moderator, who introduces the speaker and asks questions afterward. The nail-biter of the evening is whether or not the moderator, the crowd and the speaker will be able to understand each other. Shorto observes, ‘The American speaker doesn’t translate, and can’t, unless they’ve lived here; they’re just not able to. Then it’s the job of the moderator, and therefore it’s my job in picking the moderator, to get someone who can—of course the people in the audience are very savvy, but still. Before I was director, I went to one of the events last year, with Oprah’s husband, and he was saying things like, “Well, I travel all around the country...” Like he wasn’t even aware that he was in a different place.’ The role of cultural translator wasn’t one Shorto expected to assume when he published The Island at the Center of the World. ‘To me, I was writing European history for an American audience. And now I’m being asked to do the opposite. I’m being asked to interpret America for a European audience, or be a conduit. The irony for me in particular is that as a reader I’m much more Eurocentric and Anglocentric. I read more British novelists than American novelists. So it’s like working new muscles. ‘It’s very strange: now journalists call me, or the government here, asking me my views on, say, immigration in the US. I don’t think my views are any more expert than any other person’s. But I think that kind of comes with the territory. You get in a certain position and people feel that you can pontificate on various other topics.’ www.john-adams.nl
13-19 March 2008
13-19 March 2008
STASI—Secret rooms, Friday, Foam
THURSDAY13 MARCH Electro-pop: Hot Chip One of the bands that everybody can agree on, mainly because they’ve got good pop tunes and the ‘electro’ part makes it okay to like them for people who wouldn’t normally admit to liking pop. When they started out, Hot Chip also made indie people finally feel like they were cool and fun. ‘You know, recently I’ve been into electronic stuff.’ They’d dance and sing along, every once in a while momentarily distracted because they thought they’d just received a new text message. ‘Hang on... oh that was in the music.’ Hot Chip’s third album, Made in the Dark, sees them catchier than ever (though it also features some nice ’n’ quiet songs) and charted at #4 in the UK. So tonight’s the night. Go over, dance to the spiky beats, sing along with the sweet melodies and try to remember that you’ve actually switched off your phone. That is, if you’ve managed to grab yourself a ticket—since everybody can agree on them, this Hot Chip is indeed the hottest ticket in town tonight... Sold out! (Sarah Gehrke) Paradiso, Grote Zaal, 20.30, sold out.
Event: Boekenweek Boekenweek is an effective marketing instrument thought up by CPNB, the Foundation for the Collective Propaganda of the Dutch Book. And for the 73rd time, this 10-day event will be luring the Dutch people out to buy books. And they do. Why? Because there’s a freebie involved: the boekenweekgeschenk is a novella, written specially by a different renowned Dutch literary author each year (though, oddly enough, in 2001 it was written by Salman Rushdie). Spend €11.50 on a Dutch language book and you will receive one of the 975,000 copies of this year’s De pianoman by literary mammoth Bernlef who will be signing them at 13.00 on 22 March at Athenaeum Boekhandel. The boekenweekgeschenk will also serve as a nationwide free train ticket on Sunday 16 March since Jazz aficionado Bernlef has programmed two trains with such musicians as Louis van Dijk, John Engels and Benjamin Herman. The trains will both travel across the country before meeting at station Bijlmer for some improvisations. Groovy! Meanwhile, the more intellectually inclined can purchase the boekenweekessay for €2.50. This year’s author, Renate Dorrestein, wrote Laat me niet alleen about people who refuse to age the traditional way—a very fitting subject as this year’s theme is ‘Of old people… the third age and literature’. See www.boekenweek.nl for all the many events scheduled in bookshops and libraries across town. (Rebecca Wilson), Various locations, times and prices. Until 22 March.
Film: Festival van de Afgewezen Film Rejection… We’ve all been there. You put your heart and soul into a perfectly sound concept and it gets dumped on. For example, you might have produced a pilot for a
new reality show set on a ‘Ship of Fools’, or one that highlights the positive sides of dying of cancer. Then they never see the light of day. Or you made a documentary about a Nepalese monk who falls in love and then goes from being a bouncer in Kathmandu to being in jail in Hong Kong. And then it gets rejected because: ‘His life story is too ordinary and not specific enough.’ That’s got to hurt. And it happens all the time. It doesn’t mean you should give up. After all, what gets rejected by TV networks, subsidy foundations and film festivals says just as much about them as what they do accept. And that’s the idea behind this inspired festival that brings together 30 films, documentaries, reports, animations and pilots, many of which are in fact quite excellent. See www.deafgewezenfilm.nl for the full programme. In Dutch. Some with English subtitles. (Steve Korver) Betty Asfalt Complex, various times, €12/day. Until 16 March.
FRIDAY14 MARCH Event: International French Speaking Week La Maison Descartes se prépare à célébrer la Semaine de la Francophonie avec un bouquet bien garni d’événements culturels et littéraires. Au menu, le mathématicien français Jean Dhombres donnera une conférence en anglais à l’occasion du bicentenaire de l’Académie Royale des Sciences. Ensuite, deux poétesses lesbiennes, Nicole Brossard du Québec et Elly de Waard des Pays-Bas, animeront une soirée de poésie en français et en néerlandais. Vers la fin de la semaine, il y aura une conférence en anglais sur l’étymologie et plus encore intitulée « Spéculums pour spéculations » donnée par la coopérative artistique Société Réaliste qui réside à l’Académie Jan Van Eyck à Maastricht. Comme mignardise, faites le tour des cafés littéraires de la capitale à la chasse de haïkus français écrits et affichés par des étudiants d’un atelier de poésie. (Natasha Cloutier) Maison Descartes, various prices. Until 24 March.
Photography: STASI—Secret rooms Vee half vays uf myaking you talk, ja? It’s much more fun to imagine the German Democratic Republic’s secret police STASI as the psychotic bumblers they were depicted as in Cold War action films. But at the height of it powers before the Berlin Wall came tumbling down, STASI had 90,000 official workers and 170,000 active collaborators in a country with a population of 16 million. That adds up to a lot of paper work and protocols. In 2004, the artist duo Daniel and Geo Fuchs discovered that many of the interrogation rooms, cells, offices and waiting rooms still existed and set out to document as many of them as possible with a large format camera and from the same perspective. The results come across as stark yet oddly stylised. Scary yet absurd. There’s nothing ostalgic about it. (Steve Korver) Foam (Sat-Wed 10.00-18.00, Thur, Fri 10.00-21.00). Until 4 June.
13-19 March 2008
Hiphop: The Opposites Ever since 2005, when the whole of Holland couldn’t stop shouting Watskebeurt? by De Jeugd van Tegenwoordig for an entire summer, the Nederhop subgenre that is funnederhop has experienced an unstoppable rise. Nothing wrong with that—they are just a fun-loving volkje over here. First up after Watskebeurt were Partysquad, whose tunes admittedly are of a sometimes questionable quality, but who still will never be forgotten for coining the fantastic ‘Ga nou niet zo para doen/als ik sta op je Prada schoen.’ And the feel-good hit of the last few months has undoubtedly been The Opposites’ Dom, Lomp and Famous. The duo from Noord-Holland surely don’t mince their words, but neither do they forget to wear a broad grin on their faces while they’re at it. Tonight’s show is entitled Op volle Toeren, and the line-up looks like they’re keeping that promise: Flinke Namen, Dio, DJ Willy Wartaal ‘and friends’ are all present to throw one big celebration. And that’s only before the afterparty! Everybody, all together now: Ik ben dom, lomp en famous, ik ben dom, lomp en famous, ik ben dom, lomp en famous! Bitches zitten aan mijn penis! (Sarah Gehrke) Paradiso, Grote Zaal, 20.00, €17.50 + membership.
SATURDAY15 MARCH Exhibition: Hairbusiness Oh, the hairdressers’ salon. In modern mythology, it’s a place for confessions, insights, self-reflection, joy and tears. (Although to some it may only be a place for uninspired small talk, month-old glossies, and hours of sitting around in boredom, with pieces of aluminium foil on your head.) To pay respect to the mythological version, Imagine IC is hosting an interactive exhibition in collaboration with four salons in Amsterdam. Visitors of the salons are brought into contact with one another through some multimedia experience. The whole story can be followed live at the exhibition, which will also host its own mini-hairdressing service. Furthermore, there’ll be a photo exhibition about hairdressers, and several hair-related works of art on display. The whole thang is organised by the artists’ collective The Blue Noise Department. Expect life and hair stories, an exploration of the importance of looks and maybe even some confessions from the various barber stools. (Sarah Gehrke) Imagine IC, (Tues, Wed, Fri, Sat 11.00-17.00, Thur 11.00-21.00), free. Until 14 June.
SUNDAY16 MARCH Classical: Aurelia Saxofoon Kwartet 25th Anniversary Concert And you thought a saxophone sounds like a saxophone. Happily, the Aurelia Quartet shows us that it can also sound like a cello, a sea breeze, a lover’s coo or a squawking hawk. This Holland-based bunch has been redefining (and recombining and recontextualising) its instrument for a full quarter-century, gigging all over the globe and commissioning music left and right. Tonight they’re feting their anniversary with old friends and new works. Typically adventurous, the ensemble will play pieces ranging from a transcription of French composer Florent Schmitt’s 1908 ‘String Quintet’ (featuring guest pianist Ivo Janssen) to the world premiere of ‘It Ain’t Over Yet’, by the American David Dramm, which calls on cameos from harp-player Lavinia Meijer, flautist Janneke Groesz and others. Along the way, reworkings of pieces by Ravel and Chopin, as well as ‘Heartbreakers’, a collaboration with film maker Jan Willem Looze. The evening will be playful and serious in equal measure, but all marked by the seamless ensemble playing that lets this group sound like nobody else. (Steve Schneider) Muziekgebouw, 20.30, €20.
TUESDAY18 MARCH Ballet: On the Move In place of that Ballet Appreciation class you always meant to take, consider visiting this thoughtful and charming program by the National Ballet. For the subject of ‘On the Move’ is ballet itself: its history, present flexibility and future prospects. Danish dance master Harald Lander rehearses classical ballet basics in his wellknown ‘Etudes’ from 1952, which lets us snoop on dancers warming up, flexing at the bar, and working with traditional steps. Then, in ‘Russian Seasons’, we sample contemporary cross-pollination, as choreographer Alexei Ratmasky lets his experience as artistic director of the Bolshoi inform this commission for the New York City Ballet. The result, an exploration of the modulations of the Russian calendar, melds ballet, folk and jazzy elements, and earned gales of praise at its premiere two years ago. Finally, the American Mark Morris’ ‘Sandpaper Ballet’ traipses all over the place—into show dancing, modern stylings and even kitschy vernacular moves—in this whimsical salute to the ‘40s-era pop songs of Leroy Anderson. In short, ballet language is here, so let it speak in many expressive dialects. For dates and times, see www.het-ballet.nl. (Steve Schneider) Het Muziektheater, 20.15, €16€33.50. Until 6 April. Send details and images for listing consideration at least two weeks in advance to email@example.com.
13-19 March 2008
Jewish comic artists created many of the super heroes. And also worked their personal histories into graphic novels.
SNIFFING OUT COMIC ART’S JEWISH ORIGINS ART Superheroes and schlemiels Joods Historisch Museum, until 8 June. By Floris Dogterom
A 1940 comic strip, How Superman would end the war, features the squareshouldered superhero with his telltale cape going after villains Hitler and Stalin. Hitler is trying to escape in a plane, but Superman is quick to catch up. The dictator, looking anxious, exclaims, ‘Himmel! Vos is diss?’, which is more Yiddish than it is German for ‘Heavens above! What’s this?’ It was enough for the Nazi watchdogs in Germany to sniff out the comic’s Jewish origins. The original comic strip is currently on display in the Joods Historisch Museum, as part of the exhibition Superheroes and Schlemiels: Jewish Memory in Comic Strip Art. The exhibition shows the world of heroes and anti-heroes by Jewish artists such as Will Eisner, Joe Kubert, Ben Katchor and Art Spiegelman. And, of course, Joe Shuster and Jerry Siegel, the creators of Superman. Joost Swarte, the internationally acclaimed Dutch comic strip artist and graphic designer, who opened the exhibi-
tion on Thursday last week, says: ‘It’s fantastic that the museum presents these drawings. It’s not often that you can see an exhibition of comic strips in such a professional context.’ Hetty Berg, curator of the exhibition (in a co-production with the Paris based Musée d’Art et d’Histoire du Judaïsme), says: ‘I would like people to have fun and enjoy the beautiful drawings. But we also want to show that Jewish artists don’t restrict themselves to World War II and its consequences.’ While the pre-war superheroes— schlemiels, or anti-heroes, who lead ordinary lives, but occasionally put on silly costumes to go out and kick bad guys’ asses—are not typically Jewish characters, they were often made by Jews. The reason behind this is not really explained in this exhibition. Neither is, as Swarte noted, why Jewish artists were such a force in the birth of the graphic novel: ‘Eisner and Spiegelman inspired many artists in dealing with their personal stories in their work. But it’s hard to say why exactly it were Jews who started that movement. I would like to see that one sorted out.’ Perhaps a future exhibition can really tackle those subjects. Meanwhile, the focus of this one, as Berg says, is on
showing how Jewish artists use their own history and memories in their work. The museum succeeded in doing so in this seemingly medium-sized exhibition, that will still take visitors two hours if they want to read all the comic strips on display. The superheroes section, with the likes of the Hulk and Spiderman, is followed by a pivotal display around Will Eisner. Eisner is not only the originator of superhero The Spirit, but he also singlehandedly caused a comics revolution by putting ‘graphic novel’ (a term invented by American graphic artist Jim Steranko) on the cover of his 1978 A Contract with God and Other Tenement Stories. These stories are semi-autobiographical, with Eisner drawing heavily on his own childhood experiences as well as those of his contemporaries. The book pioneered a strip comic genre based on remembrance and introspection. Without it, Art Spiegelman’s 1992 Pulitzer Prize for Maus, his graphic novel on the Holocaust, wouldn’t have been possible. In a 2004 video interview with Eisner, which is shown at the exhibition, the artist defines the graphic novel as ‘a complete story, generally in the structure of a normal novel.’ Which is, indeed, miles away from Batman and the Joker. The aforementioned Art Spiegelman is accompanied by a number of artists who influenced him heavily, notably Frenchman Edmond-Francois Calvo, who, already in 1944, made a comic strip on WW II, featuring animal characters. Four decades later, Spiegelman created his famous Maus, in which the Jews are mice, the Germans are cats and the Polish are pigs. Berg says, ‘Spiegelman was unique in that he presented a difficult, emotionally charged subject like the
Superman was a super guy.
Holocaust in a comic strip format to the general public. He also tackles the generation conflict in Jewish families, where children of Holocaust survivors find it difficult to deal with the memories of their parents. Spiegelman’s Pulitzer Prize meant the recognition of comic strips as a full art form.’ Berg says that she personally likes the American female artists, a number of whom are represented in the historical fiction and autobiography section. In a realistic drawing for Bernice Eisenstein’s graphic novel I was a child of Holocaust survivors (2006), Nazi criminal Adolf Eichmann says: ‘One hundred dead is a catastrophe. A million dead—a statistic.’ This is a strip that is far beyond comical. ‘But,’ says Berg, ‘American women can also be very funny. Aline KominskyCrumb and Diane Noomin make fun of typical Jewish-American things like nose jobs. Jews over there are obsessed with the trademark bump on their noses.’ Aline Kominsky-Crumb is the Jewish wife of the world-famous, and non-Jewish, comic strip artist Robert Crumb. The exhibition has a cover of Heeb magazine from 2006, made by the couple and depicting themselves. The text in an arrow pointing at them reads ‘Jew+goy=joy’. And, in a text balloon, Aline seems to underline the schlemiel theme of the exhibition with typical selfdeprecrating humour about her hubby: ‘He’s not Jewish, but he has big nose, bad posture an’ bad eyesight, plus he can whine a kvetch better than me!’ Kvetch? Perhaps it’s a good idea to brush up on your Yiddish before heading to this excellent exhibition.
13-19 March 2008 Classical: Sabrina-Vivian Höpcker, Fabio Bidini Violin and piano duo performing works by Mozart, Mendelssohn-Bartholdy, Wieniavski and R Strauss. Muziekgebouw, 20.30, €25 Pop/Rock: 3xLive Diverse guitar rock from Mama Loo, AxSxHx and Katbite. Winston Kingdom, 21.00, €5 Contemporary: Rosa Sub Rosa 5 Performance art and composed music from the Rosa Ensemble. Zaal 100, 21.00, €8 Jazz: Young VIPs Tour The 10th edition of this tour, with the Dutch Vereniging van Jazz en Improvisatiemuziek Podia inviting pianist Soo Cho and guitarist Bram Stadhouders to take part with their own formations. Bimhuis, 21.00, €12 Rock: MKM! Featuring two Italian outfits, GI Joe (heavy punk funk) and Hypnoflash (experimental psych trio), plus locals Katadreuffe. OCCII, 21.30, €5
Black Dice, see Thursday
MUSIC More listings at www.amsterdamweekly.nl. Send listing suggestions at least two weeks in advance to firstname.lastname@example.org
Thursday 13 March Experimental: Black Dice Noise rock goes electronic but maintains the chaos. This Brooklyn bunch have been aurally rioting since the late ’90s, introducing Afrobeat and breakbeats into their sound along the way. Paradiso, Kleine Zaal, 20.00, €10 + membership Latin/Jazz: Maria José Ortiz Trio Tango and other Latin styles. With special guest, singer Anabella Zoch. Badcuyp, Zuidpool, 20.00, €4 Classical: Ebène Quartet String quartets by Beethoven, Ravel and Schumann. Concertgebouw, Kleine Zaal, 20.15, €29 Classical: Johannes-Passion Played by the Amsterdams Bach Consort. De Duif, 20.15, €25 Classical: Royal Concertgebouw Orchestra Von Weber’s Der Freischütz Overture, Beethoven’s Piano Concerto No.2, and Brahms’ Piano Quintet in G, reworked by Schönberg. Conducted by Iván Fischer, with pianist Richard Goode. Concertgebouw, Grote Zaal, 20.15, €25/€52.50 Pop/Rock: 301 Live! With Robin Block, Autoblonde and Ponypack. OT301, 20.30, €5 Classical: Cappella Amsterdam Performing Bach cantatas and his Orchestra Suite No.2. Muziekgebouw, 20.30, €20
likes or retrospective releases. But this time, it’s very much the doing of Control, Anton Corbijn’s biopic about Curtis. So jump around, embrace the noise and pretend you’re a victim of 1979 industrial England. Melkweg, Oude Zaal, 21.00, €5 Pop/Rock: Fools Gold With 7evenpm, The Looks and CutFeeling. Winston Kingdom, 21.00, €5
Jazz: ROVA Special Sextet The creative tension between composition and collective improvisation is the strong point of the influential ROVA Saxophone Quartet from San Francisco, which was founded in 1977 and specialise in mixing post-bop, free jazz, avant-rock and modern composed music. In ROVA Special Sextet, the four saxophonists collaborate with master drummers Tony Buck and Michael Vatcher. Bimhuis, 21.00, €18 Electronica: Amon Tobin Sonically reducing the planet to rubble with his diverse albums, few artists have surfed across a sea of drum & bass, hiphop, breakbeat and ambient genres with such aplomb. Born in Brazil but based in Montreal, this cutting edge sampler ditched his creative thievery for latest album, Foley Room, instead creating a rich musical landscape from originally sourced samples. Melkweg, The Max, 22.00, €14 + membership
Pop/Rock: Off the Record Featuring the inimitable Stuurbaard Bakkebaard. Comedy Theater, 20.30, €7.50 Contemporary: Olthuis & van Veenendaal—The Mystery of Guests With percussionist Alan Purves and guitarist Wiek Hijmans. Bethaniënklooster, 20.30, €15 Electronica: Turntable Music Night Volume four of this event that sees all kinds of weird and unlikely sounds being evoked from turntables. Special guests include Philip Jeck (UK) and Claus van Bebber (DE). STEIM, 20.30, €5 Rock: Closer To Curtis Every few years, the music of Joy Division and the life of singer Ian Curtis is brought back into focus—be it through modern-day sound-a-
Rock: The Happening ’60s garage sounds featuring The 1-2-5 and DJs. Maloe Melo, 22.00, €5
Bright Blue Gorilla Folk: Bright Blue Gorilla American multimedia duo in their indie folk pop frame of mind. Patronaat, Haarlem, 23.00, free
Saturday 15 March Pop: Bløf & Kodo (See Friday) Heineken Music Hall, 20.00, sold out
Pop/Rock: Club 3voor12 Live radio and TV session featuring sets from The Kooks, Krause and Black Box Revelation. Desmet Studios, 22.00, free, tickets: www.3voor12.nl
Classical: Nederlands Kamerorkest Beethoven’s Eroica; excerpts from Die Geschöpfe des Prometheus; Schönberg’s Ode to Napoleon Buonaparte; and Schubert’s Prometheus, reworked by Reger. Conducted by Yakov Kreizberg, with baritone David Wilson-Johnson. Concertgebouw, Grote Zaal, 20.15, €28/€33
Rock: Marah Bluesy rock from the eastern US. Reminiscent of Springsteen and Earle, this bunch create contemporary classic rock—if such a thing is even possible. Paradiso, Kleine Zaal, 22.30, €8.50 + membership
Contemporary: Amsterdam Sinfonietta Showcasing the sounds of nu-classical with premieres by Vasily Kalinnikov, Lera Auerbach and René Samson. As comfort noise, there’s also Shostakovich’s String Quartet No.4. Muziekgebouw, 20.30, €25
Electro rock: The Presets Australian rock ’n’ roll meets ’90s rave culture in this Noodlanding! special. Paradiso, 23.30, €11
Jazz: Saskia Laroo Band Funky nu-jazz with the Dutch trumpeter and her band touting their fifth album, Really Jazzy. Hiphop plays a key role in this, so look out for some guest MCs and beatboxers tonight. Paradiso, Grote Zaal, 20.30, €12 + membership
Classical: Matthäus-Passion Like the warning beeps emitted by motion detectors in the film Aliens, the Passions are becoming more insistent as Christ edges his way to the cross. This time, it’s the Royal Concertgebouw Orchestra, with help from Groot Omroepkoor, Nationaal Kinderkoor and conductor Iván Fischer. There’s certainly no question about the quality here. Concertgebouw, Grote Zaal, 19.30, €45/€55
Pop: Hot Chip Brit electro pop. See Short List. Paradiso, Grote Zaal, 20.30, sold out
Pop/Rock: Lola Kite, The Secret Love Parade Indie pop night, with Lola Kite launching their new EP. Cafe Pakhuis Wilhelmina, 22.00, €5
World: Mdungu & Beyond International grooves, with guest guitarist Anton Goudsmit. Club Meander, 21.00, €8
Friday 14 March
Hiphop: Kubus & BangBang British and Dutch hiphop/eclecto crossover with a raw and heavy feel. Crunching beats from Kubus and the Anglo rhymes of BangBang are on stage tonight as the duo drop their Pie & Mash album. Melkweg, Oude Zaal, 22.00, €12.50 + membership
Pop: Bløf & Kodo The lumpy Dutch pop icons are at it again, bringing sounds from around the world back to Amsterdam. Sadly, as mighty as Japanese percussion group Kodo are on their own, this latest project doesn’t cut it. Heineken Music Hall, 20.00, sold out Hiphop: De Opposites Nederhop. See Short List. Paradiso, Grote Zaal, 20.00, €17.50 + membership Opera: Kát´a Kabanová The plot of this 1921 Janácˇek opera reflects the inevitability of the situation in which Janácˇek found himself with his own love: Katya is unhappily married and is tyrannised by her spineless husband’s mother. Setting herself free merely leads to disaster. Het Muziektheater, 20.00, €15-€90 Pop/Rock: Operator Please Wired Australian guitar pop. Ah, the energy of youth. Paradiso, Kleine Zaal, 20.00, €8 + membership Classical: Prazˇák Quartet Quartets and quintets by Haydn, Feld and Beethoven. Sax player Raaf Hekkema makes up the numbers. Concertgebouw, Kleine Zaal, 20.15, €35
Pop/Rock: 3xLive Featuring Gold Sputtered Membranes, Hummingbirds and Remones. Winston Kingdom, 21.00, €5 Punk: ARG! Benefit Three punk bands show their support for the Anti Racism Group. OCCII, 21.00, €5 Rock: Jam in the Dam America’s jam rock scene lands in Amsterdam again. If you like your guitar rock groovy, with never-ending songs and a feeling to be rather ‘out of this regular chemical free world’, then there’s loads for you to hear through 19 March. Big names include Dark Star Orchestra, Umphrey’s McGee, Disco Biscuits and a whole bunch more. Melkweg, 21.00, €25 single performance; €50 day ticket; €185 festival pass Experimental: Jungle Night Psycho rock from GreenMonkeyFever. Improvised songs from Impro-Explo Ensemble Rivelli. Zaal 100, 21.00, €3 Jazz: Mariano / Humair / Haurand An old school jazz legend, sax player Charlie Mariano is joined by double bassist Ali Haurand and drummer Daniel Humair. Bimhuis, 21.00, €16 Pop/Rock: OneRepublic Flaccid guitar pop outfit currently lighting up the eyes of the mainstream music industry. Melkweg, The Max, 21.00, €13 + membership Pop/Rock: The Tunes Swinging melodic songs. Skek, 21.30, free Pop/Rock: Wilhelmina 4 Jaar A grand party to mark the fourth birthday of this lovely, watery venue. Prof
13-19 March 2008 Nomad is stepping up to lead the backing band for the night. Special guests include Ellen ten Damme, Hans van den Burg (Gruppo Sportivo), De Bombita’s Lies Schilp and Inge Bonthond and Erwin Nyhoff. DJs keep the party going till late. Cafe Pakhuis Wilhelmina, 22.00, €7.50
Hiphop/Jazz: Blender That’ll be the Bas van Lier Trio with some help from rapper Def P. Sugar Factory, 21.00, €10
Sunday 16 March Matthäus-Passion (See Friday) Concertgebouw, Grote Zaal, 12.00, €45/€55 Opera: Kát´a Kabanová (See Friday) Het Muziektheater, 13.30, €15-€90 World: Lerner & Moguilevsky Duo César Lerner and Marcelo Moguilevsky are the descendants of Russian and Polish immigrants who headed to Argentina around 1900. Theirs is an inimitable blend of traditional klezmer with Argentinian folk music, jazz, tango and modern classical compositions. Bimhuis, 14.30, €15 Classical: Dutch Record Company With mezzosoprano Anja Wilbrink and pianist Paul Komen. Bethaniënklooster, 15.00, €16.50 Singer-songwriter: Johannes Bodingus A blend of jazz, blues and folk. Badcuyp, Noordpool, 15.00, €5 Singer-songwriter: Poëzie, Muziek en Appeltaart With Donald Gardner, John Sinclair, Andrew Jones, F Starik, Skinned, Hans van Pinxteren and De Kelvinators ‘t Blijvertje, 16.00, free Latin/Jazz: Rumbatá Led by percussionist Jaime Rodríguez, Rumbatá play a lot more than just salsa— though it’s a fun enough start to your Sunday afternoon. Sugar Factory, 16.00, €8.50 Classical: Matthäus-Passion This time it’s the Combattimento Consort Amsterdam, Nederlands Kamerkoor and Roder Jongenskoor. Concertgebouw, Grote Zaal, 19.30, €43.50/€51.50 Pop: Bløf & Kodo (See Friday) Heineken Music Hall, 20.00, sold out Pop/Rock: 1990s Cheesy Scottish guitar pop. Paradiso, Kleine Zaal, 20.30, €9 + membership Classical: Aurelia Saxofoon Kwartet Celebrating 25 years of the quartet with special guests. Muziekgebouw, 20.30, €20
Jah Mason Reggae: Jah Mason & Lutan Fyah A toaster and a singjay, with backing from Black Star Sound. Paradiso, Grote Zaal, 21.00, €15 + membership Rock: Jam in the Dam (See Saturday) Melkweg, 21.00, €25 single performance; €50 day ticket; €185 festival pass Experimental: DNK-Amsterdam Weekly concert series for new live electronic and acoustic music. This edition features Collectief Reflexible, mixing brass with electronics, plus Woody Sullender and Seamus Cater. OT301, 21.30, €5
Tuesday 18 March Classical: Matthäus-Passion (See Monday) Concertgebouw, Grote Zaal, 19.30, €24.20/€28.50 Bluegrass: Carolina Chocolate Drops Flamin’ fiddles, blazin’ banjos, kazoo... and you get the picture. Those who like their Americana served like O Brother... will love this North Carolina bunch. Paradiso, Kleine Zaal, 20.00, €7.50 + membership World: Chaozhou Ensemble Traditional Chinese songs, led by Li Xianlie. Concertgebouw, Kleine Zaal, 20.15, €28.50 Rock: Jam in the Dam (See Saturday) Melkweg, 21.00, €25 single performance; €50 day ticket; €185 festival pass
Folk: Pauni Trio Bulgarian vocal polyphony, although they are rather Dutch. Badcuyp, Noordpool, 20.30, free
Wednesday 19 March
Singer-songwriter: Roesy Irish acoustic folk and pop. KHL Koffiehuis, 20.30, €7.50
Classical: Lunch Concert Featuring the Amsterdam Sinfonietta. Concertgebouw, Kleine Zaal, 12.30, free
Pop/Rock: The Independent Night Unplugged Independent minded artists realign for a night of acoustic guitar pop. Featuring Jasmine and the Jack Stafford Foundation, Absinthe, The Stutters and Fabiana Dammers. Winston Kingdom, 20.30, €6
Classical: Matthäus-Passion Christ on a biscuit. If you still care, this one’s the Holland Boys Choir conducted by Pieter Jan Leusink. Concertgebouw, Grote Zaal, 19.30, €37.50/€42.50
World: Frank London’s Klezmer Brass All Stars A few years back, New York trumpeter/band leader/composer Frank London (The Klezmatics, Hasidic New Wave) brought together the crème de la crème of the downtown klezmer scene in this all-star band. They pay tribute to the 19th century oriental Jewish band Di Shikere Kapelye. Bimhuis, 21.00, €18 Rock: Jam in the Dam (See Saturday) Melkweg, 21.00, €25 single performance; €50 day ticket; €185 festival pass
Monday 17 March Classical: Matthäus-Passion If you somehow missed the rest, KCOV Excelsior, Waterland Jongenskoor and RBO Sinfonia now want a shot. At least it’s cheaper. Concertgebouw, Grote Zaal, 19.30, €24.20/€28.50 Singer-songwriter: Tom Baxter Folky acoustic tunes from this English songwriter. Paradiso, Kleine Zaal, 19.30, €7.50 + membership Rock: Chuck Berry, Bill Wyman & Mick Taylor Rocking and rolling the wheelchairs out tonight, these musical legends will be taking everyone back to the birth and heyday of rock ’n’ roll. Heineken Music Hall, 20.00, €46 Pop/Rock: Discoverme Fifteen acts compete for a chance to play at Paradiso. Westerunie, 20.00, €7 Opera: Opera per Tutti! Weekly performance by De Nieuwe Opera Academie. Vondelkerk, 20.15, €20 Classical: Musica Temprana 18th-century Latin American vocal music, presenting the CD Avecillas Sonoras. Muziekgebouw, 20.30, €17.50 Pop/Rock: PopGrond Ooh, a spicy musical battlefield. It’s Holland vs Belgium as the winners of the Grote Prijs take on the winners of Humo’s Rock Rally. Representing us: Shane Shu, Matik and Good Dog Happy Man. As for the pesky Belgians, that won’t be decided till 16 March. De Brakke Grond, 20.30, €5
Opera: Kát´a Kabanová (See Friday) Het Muziektheater, 20.00, €15-€90 Heavy: The Cheaters Norwegian punks. Sleazy support from The Works. Winston Kingdom, 20.00, €6 Classical: Párkányi Quartet String quartets by Haydn, Bartók and Mozart. Concertgebouw, Kleine Zaal, 20.15, €30 Contemporary: Schönberg Ensemble A Proms aan ‘t IJ performance featuring Giuseppe Sinopoli’s Drei Stücke aus ‘Souvenir à la mémoire’; Franco Donatoni’s Abyss; and Emmanuel Nunes’ Épures du Serpent Vert II. Muziekgebouw, 20.30, €22 Pop/Rock: Dartz! Sunderland indie pop with loads of energy. Support from Steed. Paradiso, Kleine Zaal, 21.00, €6 + membership Jazz: Groove Night Turntables, jams and regular live sets from the best of the Amsterdam groove jazz scene. Pakhuis de Zwijger, 21.00, free Rock: Jam in the Dam (See Saturday) Melkweg, 21.00, €25 single performance; €50 day ticket; €185 festival pass Reggae: Jam Session With Ghettowish. Volta, 21.00, free Jazz: Lean Left Last year, the American saxophonist/clarinettist Ken Vandermark and the Norwegian drummer Paal Nilssen-Love gave an impressive duo concert with The Ex guitarists Terry and Andy as supporting act. The four of them ended up playing one long number together in the encore and enjoyed themselves so much, they’re back to do it properly. Bimhuis, 21.00, €15 Contemporary: TryTone presents Experimental jazz concepts. Guest programmer Louise Dam Eckardt Jensen performs and invites BasA 79 + PoOB38 and Louie’s Spaced Out Ensemble. Zaal 100, 21.00, €5 Funk: Hipdrop Live session featuring members of Cmon & Kypski, Zuco 103 and Lefties Soul Connection. Bitterzoet, 21.30, €5
Tettero, MC MarxMan and VJ Micha Klein. Paradiso, 23.00-04.00, €25 DJ’s Are Not Rockstars Featuring Alexander Technique (NYC) & DJ Cat (NYC) and Tom Trago & Beesmunt Soundsystem. Flex Bar, 23.00-05.00, €8 Exprezz Two rooms of your favourite dance sounds. That is, if you like warm house, cuddly techno and a little sprinkling of minimal. Odeon, 23.00-05.00, €12 Superstars With Gregor Salto, Sidney Samson, Marc Benjamin and more. The Powerzone, 23.00-05.00, €15 Live at the BBQ Disco, hiphop and soul grooves. Bitterzoet, 23.00-late, €7.50 Sweat X, (Op Volle Toeren Afterparty), see Friday
Pulp A new night at the Factory promising an international line-up of underground talent and homegrown cult artists. Sugar Factory, 23.59-05.00, €12
Sunday 16 March
Thursday 13 March
Monday 17 March
Poptrash Three decades’ worth of rock, electro and hiphop with The Punchout DJs and guests. Melkweg, Oude Zaal, 23.00-05.00, €5 Wildvreemd 2.0 Dekmantel celebrates its first birthday in style. Special guest is Detroit maestro Norm Talley. Sugar Factory, 23.00-05.00, €10
Friday 14 March Boemklatsch Featuring Etcenist, Illvester and $jammie the Money. Bitterzoet, 22.00-04.00, €7.50 Nataraj Dance, trance and house with a psychedelic vibe. Club 8, 22.00-04.00, €9
WickedJazzSounds Jazz, hiphop, broken beats, nujazz, funk and Afro sounds, as classic vinyl collides with live musicians. Sugar Factory, 23.00-05.00, €9.50
Mondays Groovy minimal and house. Supperclub, 19.00-01.00, €10 Cheeky Monday True skool jungle and drum & bass, featuring players from the local and international scenes. Winston Kingdom, 21.00-03.00, €6 Disco Biscuits Afterparty For the jam rock fans still on US time. Bitterzoet, 23.00-03.00, €30
Tuesday 18 March Strafwerk Minimal and electro sounds. Winston Kingdom, 22.00-03.00, €6
Nothink Wrong With Having a Party Aciiid and breakcore sonic madness. OT301, 22.00-late, €6 A Classic Friday Meeting people is easy. On Fridays. Hotel Arena, 23.00-04.00, €11 Club Amsterdam With Brian S, Isis, Peter Kan, EJay and Fountain. Escape, 23.00-05.00, €12.50 Etnisch Hysterisch A night of sexy tango, Balkan beats, the latest in gypsy, Indian, klezmer, Arabic, Latin and African electronic dance music. Along the way, resident DJ Kareem Raihani invites his favourite musicians to join him during his set. Sugar Factory, 23.00-05.00, €10 Glossy Grooves Eclectic, soulful house and disco from William Shagspeare, Flava and Lucky Charmes. Odeon, 23.00-05.00, €12.50 Ongekend / Lockdown Dubstep With Audio Werner (Berlin), Jason and the Argonauts (live), Frodo, Ramchez and Pep. In the bar it’s death by dubstep. Flex Bar, 23.00-05.00, €10 klinch: Rauw Joost van Bellen’s raw clubbing concept. The cool kids fronting the party tonight are Ghent DJ duo The Glimmers, plus live sets from In Flagranti and FoxyLane. Melkweg, The Max, 23.00-late, €17 + membership Op Volle Toeren Afterparty The DirtyDirtyDirty with DJs Mr Wix, Flexican and Fanny West. Upstairs there’s a live set from South Africans Sweat X (Citinite Label). Underground there’s the Beat Club. Paradiso, 23.5904.00, €10 + membership Crossfader Hiphop and dancehall hits of now, spun alongside the classics. Melkweg, Oude Zaal, 23.59late, €10 + membership
Saturday 15 March Havana Nights Salsa and Latin house. The Mansion, 21.00-03.00, €12 Playground Back for More No, honestly, it’s not a swim party, just an unusual party location. The tunes come from Boris Werner, Zomar and Richard Parker. Marnixbad, 22.00-03.00, €10 Club Rascal The indie disco warehouse slaughter party. Club 8, 22.00-04.00, €5
GAY& LESBIAN Edited by Willem de Blaauw.
Thursday 13 March Little Shop of Horrors The Queen’s English Theatre Company brings one of the funniest, campiest and most hysterical shows to town, about the weird aventures of a man-eating plant. Directed by Barrie Stevens. On Friday and Saturday there’s also a performance at 16.00. Until 21 March. CREA Theater, 20.00, €20 Music: Nicky Nicole Miss Nicky Nicole—and a flock of DJs—will put you in the weekend mood at this small and cozy venue. Club Roque, 21.00
Saturday 15 March Club: Danserette For those who like to start early— and like their sounds familiar and happy-clappy—this one-nighter spins anything from old Donna Summer disco to the latest campy Scissor Sisters tunes. Akhnaton, 21.00-03.00, €7,50 Club: Fresh Ibiza-style party. DJ Doug Gray and international colleagues spin the decks while the body-beautiful move their butts and show off their tatts and pecks. Hotel Arena, 22.00-04.00, €13,50 Club: Vintage Diva MayDay leaves her DJ spot at the Engel tonight for spinning some lovely dance classics at this club and she will take you back—way back—in time. Exit, 23.59, €5
Sunday 16 March
Pure Dance Experience Breakbeats, electro, jungle and drum & bass. OT301, 22.00-late, €6
Benefit: Crew Lounge—It’s a Circus The circus has come to town in the shape of this Crew Lounge party for airline crews and those who like to party with them. Forget your trolley-dolly outfit: go glam and all circusesque. Benefits go to Foundation Wings of Support (www.wingsofsupport.org) that helps kids in poor countries findi a home and improve their education. Escape Delux, 19.00-01-00, €11.50
Chemistry With all three halls jumping to the sounds of Green Velvet (Chicago), Jerome Sydenham (New York), Marcello, Benny Rodrigues, Isis, Wouter de Moor, I-F (Inter-Ference), Lupe, Juan Sanchez, Sven &
FurBall Café Drink, flirt and chase your bit of fur at this twice-monthly event for hairy marys and those in pursuit of the hirsute, including some smooth admirers. PRIK, 19.00-01.00, free
Rebellion House, techno, minimal, breaks and electro, featuring Eboman, Victor Coral, JP, Philip Young and more. Studio 80, 22.00-06.00, €10
13-19 March 2008
STAGE Opening Theatre: Adolf Pip Utton tackles Hitler, the evil logic that corrupted a nation and the bar-room bigot within us all today. In English. Schouwburg Amstelveen, Amstelveen, (Thur 12.30, 20.30), €15 Music/Theatre: The Little Shop of Horrors One of the most entertaining and fun family musicals/films ever, this tale of a man-eating plant set to a catchy ’60s Motown-style score is being brought back to life by Amsterdam’s own Queen’s English Theatre Company with help from Barrie Stevens. In English. CREA Theater, (Thur, Sat, Wed 20.00, Fri 18.00, 21.00, Sat also 16.00, Sun 15.00), €20 Theatre: De geschiedenis van de Familie Avenier (3 & 4) Maria Goos’ new play, written upon request for Het Toneel Speelt, depicts the history of a Dutch family through the decades and an ever-changing society. Divided into four parts, the play finally reaches its conclusion, which takes us from their world in 1970 to 2000. In Dutch. Stadsschouwburg, (Fri, Sat, MonWed 19.00, Sun 16.00), €15.50-€38 Performance: Sven Ratzke and the Amazing Night Circus A vaudeville dream/nightmare at the hands of Duitse Nachten maestro Ratzke and his band. From contortion to burlesque to good ol’ musical cabaret, it’s gonna be a weird one. Sugar Factory, (Sat 20.00), €15 Music/Theatre: Molora This performance compares South Africa’s recent history with the Greek tragedy Orestes and includes Xhosa overtone singers as the traditional chorus from Greek tragedies. Part of the Wereld Muziektheater Festival 2008. KIT Tropentheater, (Sat 20.30, Sun 14.00), €25 Music/Theatre: De Reisgenoot Hans Christian Andersen, the famous master of fairy tales, is still fascinating more than 150 years later. And those who don’t want to read should at least hear, according to actor Faruk Dikici and writer Ergun Simsek, who’ve reworked The Travelling Companion. Ron Ford wrote the music for it; performed by the Asko Ensemble. In Dutch. Meervaart, (Sun 14.30), €16 Music/Dance: Cuadro Flamenco Fiery flamenco, with special guests Paco Serrano and Daniel Navarro. Paradiso, Grote Zaal, (Sun 21.00), €17.50 + membership Music/Theatre: Bubbling Brown Sugar Swinging Broadway musical inspired by the facts and fiction of early 20th-century Haarlem. Featured are songs by the likes of Billie Holiday, Duke Ellington and Ella Fitzgerald. Carré, (Mon 20.00), €15-€40 Theatre: Bazel Behind the photos of beautiful, pale boys there hides a world without hope. It’s all about money and lechery in the art world. A collector of contemporary photography travels with a younger friend to the Kunstmesse in Basel. but the focus soon shifts to a terrace where the art collector waits in vain for his date, the young, dark waiter Allurie whom he met the previous evening. By Dood Paard. In Dutch. W139, (Mon-Wed 20.30), €12.50 Dance: On the Move Het Nationale Ballet showcases a work by Alexei Ratmansky, who is widely regarded as one of the most exciting young choreographic talents of the day. His ballet Russian Seasons is inspired by the seasonal changes of the Russian Orthodox calendar, but, above all, the work is an ode to and highly individual interpretation of the art of dance. Also featuring Mark Morris’ Sandpaper Ballet and Harald Lander’s Études. Het Muziektheater, (Tues 20.15), €16-€33.50
Ongoing Music/Theatre: J6 A montage performance based on Dario Fo’s Mistero Buffo. Rozentheater, (Thur-Sat 20.00), €12.50 Comedy: easylaughs Comedy improv in English. Two knee-slapping shows every Friday night. CREA Muziekzaal, (Fri 20.30, 22.30), €8, €5 (late night) Comedy: The Dog Ate My Scenework Following on from easylaughs, these are the newest kids on the English language comedy block. CREA Muziekzaal, (Fri 23.59), €4 Performance: Varekai Yet another Cirque du Soleil touring monster. This one is based loosely on the Greek myth of Icarus, and as you’d expect, features acrobatics and theatrical circus trickery on a scale most wouldn’t dare. Throw in the elaborate costumes and purposefully created live score, and it’ll be packing in audiences through May. Under the Grand Chapiteau, (Daily), €25-€74
13-19 March 2008
15 Metal Heart Delving into the arty dark side of the metal subculture, embracing the angst, blackness and (anti)religious aspects. Planetart (Thur-Sat 14.0018.00), until 22 March
The Day I Got Lost French artist Mijn Schatje, also known as Marie Blanco Hendrickx, creates bizarre and beautiful landscapes labeled as digital pop surrealism. But you might just call them dreamy and delicious. KochxBos Gallery (Wed-Sat 13.00-18.00), until 26 March
More listings at www.amsterdamweekly.nl.
Barbara Massiglia, Erik Leeman Black-and-white fashion photography and portraits by Massiglia; landscapes and macro shots by Leeman. Fotogram (Mon-Thur 09.30-21.00, Fri, Sat 09.30-17.00), until 26 March
Hairbusiness: Heads and Tales An interactive multimedia installation bringing to life the intimate world of the hairdresser, where guards are let down—both physically and emotionally—as you stare into the mirror. See Short List. Imagine IC (Tues, Wed, Fri, Sat 11.0017.00, Thur 11.00-21.00), opens Thursday, until 14 June
Eau Couture Artist/designer converts plastic water bags into elegant fashion works. Galerie 23 (Wed-Sun 13.00-17.00), until 27 March
Daniel & Geo Fuchs: STASI—Secret rooms This exhibition opens up the hidden rooms once used by the STASI, the infamous East German secret service, in a series of monumental photos. While much of the former DDR infrastructure has been destroyed or given an entirely new function, the clandestine spaces that Daniel and Geo Fuchs photographed are still in their original condition. Offices, cell complexes, bunkers, living quarters and interrogation rooms: everything is exactly the way it was before Die Wende. See Short List. Foam (Sat-Wed 10.00-18.00, Thur, Fri 10.0021.00), opens Friday, until 4 June
James Aldridge: Halo of Flies Paintings and paper cut-outs by the UK artist. Galerie Gabriel Rolt (Wed-Sat 12.00-18.00), until 29 March Levi van Veluw & Laetitia Gendre Photography/film and installation/drawings. Ronmandos (Wed-Sat 12.30-18.00), until 29 March Porn Your Life Dutch artist Marcello Segal explores the themes of voyeurism and exhibitionism in various mediums. Galerie Masters (Thur-Sat 13.00-17.00), until 29 March
Jessica Dimmock—The Ninth Floor An exhibition of socially-engaged photography by the young American photographer. This disturbing portrait series features a group of young heroin addicts living in a ninth-floor apartment in Manhattan, New York. Simultaniously sympathetic and ruthless, Dimmock takes a disconcertingly close view of her subject. Foam (Sat-Wed 10.00-18.00, Thur, Fri 10.00-21.00), opens Friday, until 1 June
Uitbraak The Meneer de Wit showcase exhibition, featuring diverse contemporary works by the complex’s artists. Meneer de Wit (Wed-Sun 14.00-18.00), until 29 March David Powell A solo installation featuring wee paintings the Irishman made between 2004 and 2007. Van Zijll Langhout (Mon-Fri 11.00-17.00), until 30 March
(De)Construct Contemporary Cuban art: aquarelles by Armando Mariño; photos by Liset Castillo; and installations by Inti Hernandez. Galerie Hof & Huyser (Wed-Sat 13.00-18.00), opens Saturday, until 19 April
Meeting of the Sexes Group exhibition showing paintings, mixed media, sculptures in bronze, ceramic and platinum. In Fusion Gallery (Tues-Sat 11.00-18.30, Sun 12.00-18.00), until 1 April
Eleni Tzatzalos: Ne Quittez Pas New sculptures, photographs and drawings detailing the symbiosis of humans and nature. Suzanne Biederberg Gallery (Wed-Sat 14.00-18.00), opens Saturday, until 30 March
Levi van Veluw, Laetitia Gendre Featuring Landscapes, a four-piece photo series, plus video work and other photos by Van Veluw. Fast Fade to Grey Grey Grey by Gendre is a drawing installation. Ronmandos (Wed-Sat 12.30-17.30), until 5 April
Jan Adriaans, Basje Boer, Antje Peters Photography. Amsterdams Centrum voor Fotografie (Wed-Fri 13.00-17.00, Sat 11.00-17.00), opens Saturday, until 12 April Judith van Bilderbeek Colourful paintings by the Den Haag artist. Ververs Gallery (Thur-Sat 12.00-17.30), opens Saturday, until 3 May Op de Vloer Exhibition about the meeting point between art, architecture and music. Contributors include Else Ringnalda, Willibrord Huijben, Gert-Jan Evenhuis and Jan Paul Hulsebek. Muziekgebouw (Daily), opens Saturday, until 23 March Wyman Shoots His fine art photos have been shown across the world over the past couple of years—even previously in Rotterdam. Now The Rolling Stones’ bassist brings his work here. Yoshiko Matsumoto Gallery (Wed-Sar 13.30-18.30), opens Wednesday, until 12 April
Museums Designing Leisure Landscapes Student designs for leisure themes in Amsterdam. Maybe the Red Light District will stay red after all. Zuiderkerk (Mon 11.00-16.00, Tues-Fri 09.00-16.00, Sat 12.00-16.00), closing Friday Gastarbeider Dating A project about identity, feeling at home, being foreign and meeting each other. It features 10 international artists who’ll try to help explore their national and personal cultures. Mediamatic (Wed-Sun 16.00-20.00), closing Sunday Josine van Dalsum Paintings and drawings by the Breda artist. Jan van der Togt Museum (Thur-Sun 13.00-17.00), Amstelveen, closing Sunday Sonic Acts XII Presenting works that create various forms of the cinematic experience, ranging from music to visual art, installations and media arts. Montevideo/Time Based Arts (Tues-Sat 13.00-18.00), until 22 March Katsutoshi Yuasa Monumental woodcuts based on the Japanese artist’s own photographs. CoBrA Museum (Tues-Sun 11.00-17.00), until 30 March Van Binnenuit Freaky photos of Cirque du Soleil’s Varekai, captured backstage by Marco Cisaria. Centrale Bibliotheek (Daily), until 30 March Ruth van Beek: Reconstructions Van Beek collects random snapshots, passport photos, slides and albums, as well as pictures from newspapers and old books. By folding and cutting the material she gives the images a new meaning, creating a hybrid which
Basje Boer, see Opening
combines photography and drawing. Foam (Sat-Wed 10.00-18.00, Thur, Fri 10.00-21.00), until 9 April Alexandra Bircken: Units Brit artist Bircken adopts an unorthodox approach to sculpture. She constructs wobbly armatures of bent twigs and tree branches and then stretches between them brightly coloured wools and other materials. Stedelijk Museum CS (Daily 10.00-18.00), until 13 April Hidden Afghanistan A deluxe exhibition presenting a ‘not war-torn’ vision of this nation at the crossroads of civilisations in central Asia. At its core, 250 archaeological objects will be displayed. Nieuwe Kerk (Fri-Wed 10.00-18.00, Thur 10.00-22.00), until 20 April Show Yourself Diverse excerpts of work by and about Benno Premsela. Stadsarchief Amsterdam (Tues-Sat 10.00-17.00, Sun 11.00-17.00), until 27 April Benno Premsela—Voorvechter van Homo-Emancipatie Books, magazines and photos highlighting the history of acclaimed designer and gay rights activist Premsela. Centrale Bibliotheek (Daily), until 27 April Allora & Calzadilla—Never Mind That Noise You Heard An opportunity to see and hear recent installations and videos that consider the continuum between noise and music as a productive measure and potentially rich tool through which cultural, social and political relationships can be gauged and challenged. Stedelijk Museum CS (Daily 10.00-18.00), until 4 May MAGNUM Photos 60 years Since 1947, the MAGNUM agency has been providing images of landmark world events. This collection uses photographs, books and texts to illustrate the history of MAGNUM year by year, giving visitors the opportunity to view work by 83 photographers. Stedelijk Museum CS (Daily 10.0018.00), until 12 May John Everett Millais He was the foremost painter of the English Pre-Raphaelite Brotherhood, and Britain’s most successful artist of the latter half of the 19th century. His jewel-like, highly detailed paintings exude a dreamy, serene atmosphere, and this exhibition comprises some 100 works, covering all aspects of Millais’ career. Van Gogh Museum (Mon-Thur, Sat, Sun 10.0018.00, Fri 10.00-22.00), until 18 May Maria Sibylla Merian & Daughters—Women of Art and Science Containing the most important and influential natural history art from the Netherlands in the 17th century, this exhibition features more than a hundred rarely displayed masterpieces, including original drawings, watercolours, gouaches, prints and books. Rembrandthuis (Mon-Sat 10.00-17.00, Sun 11.0017.00), until 18 May
Edwin Zwakman: Fake But Accurate A retrospective of well-known Dutch photographer Zwakman, in which his three latest series can be seen together for the first time. Huis Marseille (Tues-Sun 11.00-18.00), until 25 May Boek Zoekt Lezer A historical overview of the Dutch literature world, showcasing advertising from the 17th century to the present. UvA: Special Collections Library (Mon-Fri 10.00-17.00, Sat, Sun 13.00-17.00), until 28 May Eyes Wide Open The Stedelijk Museum presents a selection of recently acquired paintings, photographs, examples of film and video art, sculptures and graphic works by artists working in the Netherlands or elsewhere. Stedelijk Museum CS (Daily 10.00-18.00), until 1 June Karel Appel—Jazz 1958-1962 One of the nation’s most famous post-war artists, this collection comprises some 23 large-scale works. CoBrA Museum (Tues-Sun 11.00-17.00), until 1 June Superheroes and Schlemiels Superman, Maus, The Rabbi’s Cat and many other heroes and anti-heroes from the art of comics feature in this exhibition. Leading Jewish comic artists present their vision of a Jewish past in original drawings, printed matter and film material. See article, p.11. Joods Historisch Museum (Daily 11.00-17.00), until 8 June Kurt Lubinski: Photographer in Exile Although this German émigré photographer is now relatively unknown, he gained a significant reputation as a successful photojournalist for his worldly travel reportages in the ’20s and ’30s. Here, a collection of his documentary portraits are presented. Joods Historisch Museum (Daily 11.00-17.00), until 8 June
Galleries Sweet Colors Oil paintings by Wil Jansen and monochromes by Sybille Pattscheck. Galerie Roger Katwijk (Wed-Sat 12.00-18.00), closing Saturday Serial Photography Three contemporary artists show recent work: Peter Cleutjens, Hans Eijkelboom and Katrin Korfmann. All three have a serial documentary approach to photography in the public space. 2x2projects (Wed-Sat 13.00-18.00), until 20 March Michael Kirkham: Hotel Grande Abyss Lust, sex, pornography and lack of control are all prevalent themes in the paintings of this British artist. Aschenbach & Hofland Galleries (Wed-Sat 12.00-17.00), until 22 March
Guide to ruined Buildings in the Netherlands XIXXXI Century Lara Almarcegui’s photos often explore neglected or overlooked sites, where the planned and unplanned use of the urban space becomes visible. Revealing their identity in her guides, she highlights each location’s tendency towards entropy. Ellen de Bruijne Projects/Dolores (Tues-Sat 13.00-18.00), until 5 April To Burn Oneself with Oneself: The Romantic Damage Show Romanticism is back with a vengeance. Romantic themes exert an almost universal attraction, which is why they resurface at regular intervals. But what’s really going on? De Appel (Tues-Sun 11.0018.00), until 6 April Kris Dewitte: Still Project Blending her love of film and photography, Dewitte presents shots and portraits of the world’s biggest film stars and directors. Melkweg Galerie (Wed-Sun 13.00-20.00), until 6 April Nelson Carrilho Paintings and objects. BIHP (ThurSat 12.00-18.00), until 13 April Building Lightness Architectural designs that embrace ‘lightness’. Fonds BKVB (Mon-Fri 10.0017.00), until 18 April It Ain’t Necessarily So A synthesis of Rogi Wieg’s poetry and Elizabeth Kleinveld’s photography, which together tell the story of the transformative effect of having to rebuild anew in the wake of Hurricane Katrina. Dikker&Thijs Fenice Hotel (Mon-Sat 17.00-23.00), until 20 April Jason Eden Collages by the American artist, inspired by Playboy. Galerie Rademakers (Tue-Sun 11.0017.30), until 20 April Wubbo de Jong A selection of photos by De Jong, who spent 28 years working as a photographer for Het Parool. Blow Up Gallery (Thur, Fri 14.00-18.00, Sat 13.00-18.00), until 2 May Jozef van Ruyssevelt: In de Ban van het Licht Paintings by the late Flemish virtuoso artist. Galerie de Rietlanden Exposities (Sat, Sun 13.00-17.00), until 4 May Joram Roukes Drawings and paintings. Carhartt Store (Daily), until 7 May Chris Shaw: Life as a Night Porter Shaw spent 10 years working in London hotels, all the while using his camera to both document the hotel’s unexpected human spectacles and keep himself awake through the long hours of his shifts. Hup Gallery (Tues, Thur, Fri 10.00-17.00), until 1 June
music and wine, wine, wine. If you love your Cava, it’ll be flowing like water all day and night. See www.cavaclub.com. Westergasterras, (Sun 15.00-21.00), free Discussion: Women Inc Weekly talk show highlighting specific female issues. Tonight is all about coaching, meditation and self-visualisation with Patricia Blok. In Dutch. Pakhuis de Zwijger, (Mon 20.00), free
Bagdad Calling (book presentation)
EVENTS Symposium: Private Funds, Public Benefits Art meets money but will they get on? W139, (Thur 18.00), €80 incl dinner & drinks Talk: Afghanistan & Omar Khan Massoudi Afghan museum director Omar Khan Massoudi in discussion with Yoeri Albrecht about his efforts to protect his nation’s cultural treasures despite wars and disasters. In English. Nieuwe Kerk, (Thur 20.00), museum entry cost Art: Katie’s Cozy Craft Corner A free event open to anyone who wants to come down and get crafty or keep crafters amused. Just bring your crafty bits along and take them away at the end of the night. De Nieuwe Anita, (Thur 20.00), free Debate: Kosovo—The Future is Now Analysing the current tension between Kosovo and Serbia as the Kosovans break free. United Nations diplomat Martti Ahtisaari is special guest, along with Ilir Dugolli, Sian Jones, Joost Lagendijk and Filip Pavlovic. In English. Verzetsmuseum, (Fri 14.00), museum entry cost Event: De Nationale Carrièrebeurs Need a new job? Well, if you turn to near the back of this paper, that’s a good start. Otherwise you can head to this career event with representatives from companies big and small. See www.carrierebeurs.nl. RAI, (Fri, Sat 09.3017.30), free, registration required Festival: Babelfestival The 13th annual celebration of migration, featuring theatre, music, film, lectures and more. This year is all about bridging cultural differences and comes with a programme fully loaded with entertainment. Special guests include Hakim Traïdia, Sabri Saad el Hamus and Helmert Woudenberg. Until 23 March. See www.ostadetheater.nl. Ostadetheater, (Fri-Wed), various prices Event: International French Speaking Week Bonjour. J’ adore le Amsterdam Weekly. Voir la liste courte. See Short List. Maison Descartes, (Fri-Wed), various prices Benefit: G8 Info-fit All you need to know about antiG8 mobilisation for Japan in July. Party follows with ska from De Beatzers. Vrankrijk, (Fri 21.00), €3 Poetry/Music: CrimeJazz Jazz, hiphop and spoken word talents. Bitterzoet, (Sat 21.00), €8 Party: Pop Sunday This gathering’s all about food,
Discussion: Broeinest ‘Learning to Organise: The Secrets of “the movement”’. Experienced activists will talk about and show footage of organisational structures of a series of important movements: the women’s movement, the squatting movement and the solidarity movement. In English and Dutch. Plantage Doklaan 8-12, (Mon 20.00), free Poetry: Des femmes poètes Women and poetry. In Dutch and French. Maison Descartes, (Mon 20.00), €6 Discussion: Kenniscafe #3—Molecule Lego All you need to know about nano-technology from the people who hopefully actually understand it. In Dutch. De Balie, (Mon 20.30), free Party: St Patrick’s Day Yes, it’s time to slip on a green shirt—or silly hat—drink Guinness like your life depends on it, then vomit on the street like you’re English rather than Irish—not that they’re so innocent, but oh how everyone loves those chirpy leprechauns at this time of year. Of course, this is just one location of many around town which will be trying hard to make the Irish souls feels welcome today. From 20.00, there’s some Irish harp love from Ken Parsons. Hard Rock Cafe, (Mon), free, €5 for concert Book presentation: Bagdad Calling Presenting the new photo book by Geert van Kesteren. Included is a debate about the invasion of Iraq. De Balie, (Tues 14.30), free Discussion: Over There The latest in the series ‘The Next President of the United States…’. This edition asks what changes would the various candidates bring to American foreign policy? In English. International School for Humanities and Social Sciences, UvA, (Tues 15.00), free, reservations required Lecture: Deep Down Wisdom A platform for speakers, ideas and positive change. Tonight with Rudy Vandamme. Pakhuis de Zwijger, (Tues 19.30), €65
ADDRESSES 2x2projects Veemkade 350, 489 7471 Akhnaton Nieuwezijds Kolk 25, 624 3396 Amsterdams Centrum voor Fotografie Bethaniënstraat 9, 622 4899 Amsterdams Historisch Museum Kalverstraat 92, 523 1822 De Appel Nieuwe Spiegelstraat 10, 625 5651 ARCAM Prins Hendrikkade 600, 620 4878 Arti et Amicitiae Rokin 112, 624 5134 Aschenbach & Hofland Galleries Bilderdijkstraat 165C, 412 1772 AYAC'S Keizersgracht 166, 638 5240 Badcuyp 1e Sweelinckstraat 10, 675 9669 De Balie Kleine-Gartmanplantsoen 10, 553 5151 Bethaniënklooster Barndesteeg 6, 625 0078
Betty Asphalt Complex NZ Voorburgwal 282, 626 4695 BIHP Keizersgracht 335, 622 4511 Bimhuis Piet Heinkade 3, 788 2150 Bitterzoet Spuistraat 2, 521 3001 ‘t Blijvertje Derde Oosterparkstraat 64h Blow Up Gallery Hazenstraat 67, 665 3435 Borzo Keizersgracht 516, 626 3303 De Brakke Grond Nes 45, 626 6866 Cafe Pakhuis Wilhelmina Veemkade 576, 419 3368 Canvas International Art Fokkerlaan 46, Amstelveen, 428 6040 Carhartt Store Hartenstraat 18 Carré Amstel 115-125, 524 9452 Centrale Bibliotheek Oosterdokskade 143, 523 0900 Club 8 Admiraal de Ruyterweg 56B, 685 1703 Club Meander Voetboogstraat 3, 625 8430 Club Roque Amstel 178 CoBrA Museum Sandbergplein 1-3, Amstelveen, 547 5050 Comedy Theater Nes 110 Concertgebouw Concertgebouwplein 2-6, 671 8345 Consortium Veemkade 570, 06 2611 8950 CREA Cafe Turfdraagsterpad 17, 525 1423 CREA Muziekzaal Turfdraagsterpad 17, 525 1400 CREA Theater Turfdraagsterpad 17, 525 1400 Desmet Studios Plantage Middenlaan 4A, 521 7100 Dikker&Thijs Fenice Hotel Prinsengracht 444, 778 1947 De Duif Prinsengracht 756 Ellen de Bruijne Projects/Dolores Rozengracht 207A, 530 4994 De Engelenbak Nes 71, 626 3644 Escape Rembrandtplein 11, 622 1111 Escape Delux Amstel 70, 030 231 1577 Exit Reguliersdwarsstraat 42, 625 8788 Flex Bar Pazzanistraat 1, 486 2123 Foam Keizersgracht 609, 551 6546 Fonds BKVB Brouwersgracht 276, 523 1523 Fotogram Korte Prinsengracht 33, 624 9994 Frascati Nes 63, 626 6866 Galerie 23 Nieuwe Herengracht 23, 623 9215 Galerie de Rietlanden Exposities Rietlandpark 193, 419 4705 Galerie Gabriel Rolt Elandsgracht 34, 785 5146 Galerie Hof & Huyser Bloemgracht 135, 420 1995 Galerie Masters Eerst Jan Steenstraat 131, 470 1067 Galerie Rademakers Prinsengracht 570-572, 6225496 Galerie Roger Katwijk Lange Leidsedwarsstraat 198-200, 627 3808 The Gallery Donkersloot Leidsegracht 76, 572 2722 Gemeentemuseum Stadhouderslaan 41, Den Haag, 070 338 1111 Hard Rock Cafe Max Euweplein 57-61, 523 7625 Heineken Music Hall ArenA Boulevard 590, 0900 300 1250 Hermitage Amsterdam Nieuwe Herengracht 14, 530 8751 Hortus Botanicus Plantage Middenlaan 2A, 625 9021 Hotel Arena ’s-Gravesandestraat 51, 850 2400 Huis Marseille Keizersgracht 401, 531 8989 Hup Gallery Tesselschadestraat 15, 515 8589 Imagine IC Bijlmerplein 1006-1008, 489 4866 In Fusion Gallery Haarlemmerplein 33, 620 0905 International School for Humanities and Social Sciences, UvA Jan van der Togt Museum Dorpsstraat 50, Amstelveen, 641 5754 Joods Historisch Museum Jonas Daniel Meijerplein 2-4, 531 0310
13-19 March 2008 KHL Koffiehuis Oostelijke Handelskade 44, 779 1575 KIT Tropentheater Mauritskade 63, 568 8711 KochxBos Gallery 1e Anjeliersdwarsstraat 3-5, 681 4567 Maison Descartes Vijzelgracht 2A, 531 9500 Maloe Melo Lijnbaansgracht 163, 420 4592 The Mansion Hobbemastraat 2, 616 6664 Marnixbad Marnixplein 1 Mediamatic Post CS, Oosterdokskade 5, 638 9901 Meervaart Meer en Vaart 300, 410 7777 Melkweg Lijnbaansgracht 234A, 531 8181 Melkweg Galerie Marnixstraat 409, 531 8181 Meneer de Wit Postjesweg 2, 616 3680 Montevideo/Time Based Arts Keizersgracht 264, 623 7101 Motive Gallery Elandsgracht 10, 330 3668 Muziekgebouw Piet Heinkade 1, 788 2010 Het Muziektheater Amstel 3, 625 5455 De Nieuwe Anita Frederik Hendrikstraat 111, 06 4150 3512 Nieuwe Kerk entrance on the Dam, 638 6909 OCCII Amstelveenseweg 134, 671 7778 Odeon Singel 460, 624 9711 Ostadetheater Van Ostadestraat 233 D, 679 5096 OT301 Overtoom 301, 779 4913 Pakhuis de Zwijger Piet Heinkade 179-181, 788 4444 Paradiso Weteringschans 6-8, 626 4521 Patronaat Zijlsingel 2, Haarlem, 023 517 5858 Planetart Weteringschans 179 Plantage Doklaan 8-12 Plantage Doklaan The Powerzone Spaklerweg, 681 8866 PRIK Spuistraat 109, 06 4544 2321 RAI Europaplein 22, 549 1212 Rembrandthuis Jodenbreestraat 4, 520 0400 Rijksmuseum Jan Luykenstraat 1, 674 7000 Ronmandos Prinsengracht 282, 320 7036 Rozentheater Rozengracht 117, 620 7953 Schouwburg Amstelveen Stadsplein 100, Amstelveen, 547 5175 Skek Zeedijk 4-8, 427 0551 Stadsarchief Amsterdam Vijzelstraat 32 Stadsschouwburg Leidseplein 26, 624 2311 Stedelijk Museum CS Oosterdokskade 5, 573 2911 STEIM Utrechtsedwarsstraat 134, 622 8690 Studio 80 Rembrandtplein 70, 521 8333 Sugar Factory Lijnbaansgracht 238, 627 0008 Supperclub Jonge Roelensteeg 15, 344 6400 Suzanne Biederberg Gallery 1e Egelantiersdwarsstraat 1, 624 5455 Tropenmuseum Linnaeusstraat 2, 568 8200 Under the Grand Chapiteau Next to ArenA (P2), 621 1288 UvA: Special Collections Library Oude Turfmarkt 129, 525 2141 Van Gogh Museum Paulus Potterstraat 7, 570 5200 Van Zijll Langhout Brouwersgracht 161, 06 2825 9620 Ververs Gallery Hazenstraat 54 Verzetsmuseum Plantage Kerklaan 61, 620 2535 Volta Houtmankade 334-336, 628 6429 Vondelkerk Vondelstraat 120 Vrankrijk Spuistraat 216 W139 Warmoesstraat 139, 622 9434 Westergasterras Klönneplein 3, 475 1412 Westerunie Klönneplein 4-6 Winston Kingdom Warmoesstraat 129, 623 1380 Yoshiko Matsumoto Gallery Weteringschans 37, 06 1437 0995 Zaal 100 De Wittenstraat 100, 688 0127 Zuiderkerk Zuiderkerkhof 72, 552 7987
13-19 March 2008
Back to ostrich Tjing Tjing Cornelius Trooststraat 56-58, 676 0923 Open: Tues-Sun, 16.00-’late’ Cash, PIN Sakabona! That’s hello in Zulu. A week ago, I sat watching a nature program about Namibia with its hot sun and rugged desert where wild ostriches run around. My pea brain glazed out and started to imagine sitting down to a succulent Sunday roast of a whole such bird, one surrounded by acres of crispy potatoes and the astonished faces of witnessing diners. I knew it was time to re-visit South African specialty restaurant Tjing Tjing since no one does grilled ostrich steaks (and other wild game) like chef and owner Michael Ricketts. I had also heard that it had been renewed. Upon entry I immediately felt embraced by the colourful African decor with the cafe/lounge area now holding three large comfortable couches swathed in zebra and leopard skin printed cloth. I sank down delightedly into the depths of one while Emiel Kahn, the waiter and barman, materialised at my elbow for my order. ‘A medium-rare ostrich!’ I gargled greedily. But perhaps I should have looked a little more at the new menu. Cape Town-born chef Michael has created something that embraces the tongue with flavour, textures and flair. There’s something for everyone: creamy biltong (dried meat) soup with cheddar and vintage port (€7.95) and different Cape Malay filled samosas and loempias to crunch into (€5.95-€6.95). My cold starter was a salmon roll omelette, or ‘tiger’s eye’. It wasn’t very African but it was
THE UNDERCOVER GLUTTON A slab of medium-rare ostrich was served with a fruitmint chutney. I sat hypnotised for a moment by the five glazed carrot balls orbiting the plate, before diving in. very yum. It consisted of crabstick rolled in nori seaweed as a centre and wrapped with smoked salmon and smeared with horseradish and cream cheese. The two slices were parked on shredded
lettuce which concealed sharp pepper dew pieces to startle your taste buds. Some lime and coriander just added to the rollercoaster. Already content, I moved to a table, sur-
rounded by many diners obviously enjoying themselves, to await my main course. Gad, it looked great. Michael had grilled me a slab of medium-rare ostrich, served on an herbed rosti potato and rucola base, and sauced with a fruit-mint chutney. I sat hypnotised for a moment by the five little glazed carrot balls orbiting the plate, before diving in. Delicious. If you don’t personally care for the combination of fruit and meat, there are other game specialties that have forest mushrooms and port, or garlic, bacon and cream as sauces. All of them are in the €21.75-€23.50 range. For dessert, I had a rich Millies Malva pudding, a Boer specialty. Pure indulgence at €4.50. It’s a sweet, buttery muffin and rum affair— with vinegar as its secret ingredient—drenched in a syrup. A sugar rush rocketed up my spine. Tjing Tjing will soon also be open for lunch which just adds to all the other advantages: a wireless internet connection, a secret garden in the back, a good selection of South African wine and a comforting selection of chilled cocktails. Michael also offers a hot buffet table for celebrations, where guests can sit and serve themselves family-style from the brimming and aromatic dishes. The informal atmosphere in a formal setting is one of the hallmarks of South African hospitality. In keeping with this, the kitchen remains open until the last guests leave. (And sometimes they don’t.) The restaurant does get busy so do phone ahead to reserve a table. And be prepared to wait a tad longer for your food, as everything is freshly made from scratch. If you are in a hurry then let Michael know in advance and be on time. But for me, the Tjing Tjing moment is letting go of the busy day to relax, being unhurried, unharried and happy. Oh, and living my ostrich dreams.
13-19 March 2008 A fractured but factually correct Dylan.
Todd Haynes has made a smart film deconstructing Bob Dylan’s career. But is there anything left at the end?
THIS DYLAN REALLY ISN’T ALL THERE FILM I’m Not There Opens Thursday at Kriterion and The Movies. By Marie-Claire Melzer
It’s not just the ragged wig. Cate Blanchett gives an excellent performance as Bob Dylan in Todd Haynes’ I’m Not There. She plays a star fiercely fighting fans and media who refuse to let go
of ‘their’ Dylan—the protest singer he himself no longer wanted to be. He is hounded at press conferences and in hotels; these scenes, shot in black-andwhite, clearly refer to DA Pennebaker’s famous 1967 documentary Don’t Look Back, in which Dylan sardonically chops up journalists and their stupid questions. Yet Blanchett adds a certain vulnerability. Her Dylan is not just a smart-ass, but also a lonely figure, tired and misunder-
stood. She does a great job in making Dylan’s sometimes erratic behavior (turning up drunk, offending people) perfectly understandable. All in all, I’m Not There is an ambitious and daring film. It is a biopic in the sense that it depicts the main events in Bob Dylan’s life and career. But they are not told in chronological order. And Haynes uses six different actors to play the singer. Apart from Blanchett, who portrays the rebellious Dylan in his Blonde on Blonde days, there is Marcus Carl Franklin as Dylan the folk and blues singer, Ben Whishaw as Dylan the poet, Heath Ledger as Dylan the celebrity with domestic problems, Christian Bale symbolising his religious tendencies and Richard Gere as a lonesome cowboy, referring to Sam Peckinpah’s 1973 hippie Western Pat Garrett & Billy the Kid, for which Dylan wrote the soundtrack. All these different actors, plus the
constant moving back and forth in time, doesn’t make it easy to identify with any of the Dylans. But simple identification is probably not what Haynes is after. With his 1998 Velvet Goldmine, the fictional biography of a glam rocker, Haynes explored the mechanics of pop culture and the creation of stars. He constructed his main character, Brian Slade (Jonathan Rhys Meyers), out of stories surrounding three existing pop stars: David Bowie, Iggy Pop and Lou Reed. For I’m Not There, he used a real person, but in the end the idea remains the same. It’s a film about the mythmaking around a pop star, rather than a search for who Bob Dylan truly is or was. In making such a well-documented film, Haynes must have listened to all Dylan’s albums, seen all the documentaries and read all the books and articles on him. Each scene is packed with intertextual references. For example, Julianne Moore gives a great impersonation of the folk singer Joan Baez, as she appeared in Martin Scorsese’s 2005 documentary No Direction Home, reminiscing about her time with Dylan, partly puzzled, partly hurt, but clearly still admiring the man. The film has its moments, but in the end it’s more an interesting, audiovisual lecture (despite his unconventional approach, Haynes is very factual), than an overwhelming cinematographic experience. If you really want to know what Dylan is all about, go see Pat Garrett & Billy the Kid. That story is rather simple, but perhaps it’s exactly the lack of dialogue, the slow editing and the empty frames, that leave room for Dylan’s music—and his spirit, if you will.
Five-Word Movie Review
FILM Edited by Julie Phillips.This week’s films reviewed by Massimo Benvegnù (MB),Angela Dress (AD), Don Druker (DD),Sarah Gehrke (SG),Andrea Gronvall (AG),Luuk van Huët (LvH),JR Jones (JJ),Dave Kehr (DK),Marie-Claire Melzer (MM), Mike Peek (MP),Bart Plantenga (BP),Gusta Reijnders (GR),Jonathan Rosenbaum (JR),Marinus de Ruiter (MdR),Bregtje Schudel (BS),Isabel Serval (IS) and Ted Shen (TS).All films are screened in English with Dutch subtitles unless otherwise noted. Amsterdam Weekly recommends.
Festival New German Cinema Films from a number of young directors from Germany who have recently been classified as belonging to the Neue Berliner Schule. What unites the group is that, although their films are often highly stylised, they still show a strong affinity for realism and a sharp eye for detail. Directors include Thomas Arslan, Angela Schanelec and Christian Petzold. Arslan and Petzold will be present for the screening of their films Ferien and Yella, and the latter will enter into a debate with Nanouk Leopold about the connection of the Neue Berliner Schule with recent Dutch and Belgian cinema. All films are in German with English subtitles. (SG) Rialto
New this week 10,000 BC At least Roland Emmerich (Independence Day) has chosen a subject, in his latest film, for which few people hold fond memories. But that’s about as much praise as he’s due. D’Leh (Steven Strait), a prehistoric hunter, sets out to rescue his tribesmen and his
GEO-SLOW WITH CARBONDATED ACTING 10,000 BC Pathé ArenA, Pathé de Munt
blue-eyed babycakes (Camilla Belle), who have been whisked away to build pyramids by a group of evil slavers. The generic story line, plodding pacing and carbon-dated acting all conspire to make this action adventure as big and dumb as a woolly mammoth. And the CGI looks less convincing than a Harryhausen flick. (LvH) 109 min. Pathé ArenA, Pathé De Munt Aleksandra Russian master Aleksandr Sokurov (Father and Son, The Sun) places himself in the position of an old woman questioning the motives of men of war. Aleksandra, played by the opera singer Galina Vishnevskaya, goes to visit her grandson, who is stationed in Grozny with the army. For both the soldiers and the viewers she is a disarming presence at the base, particularly with her dry, motherly comments about the macho habits and phallic-looking weapons she comes across. Aleksandra is based on a marvellous idea; its lack of story development makes it less poignant than it could have been, but it’s still a moving addition to the impressive Sokurov oeuvre. In Russian with Dutch subtitles. (MdR) 92 min. Filmmuseum Definitely, Maybe A divorced New York ad man (Ryan Reynolds) gives his insufferably precocious 10-yearold (Abigail Breslin of Little Miss Sunshine) a lengthy account of his early love life, which is conveyed in
Still playing flashbacks and begins shortly before he left Madison, Wisconsin, to work on Bill Clinton’s first presidential campaign. This highly uneven comedy by writer-director Adam Brooks (Bridget Jones: The Edge of Reason) might be easier to take if it were less infatuated with its own cuteness. With Isla Fisher, Derek Luke, Elizabeth Banks, Rachel Weisz and Kevin Kline. (JR) 112 min. Pathé ArenA, Pathé De Munt I’m Not There Six degrees of Bob Dylan. See review above. 135 min. Kriterion, The Movies The Spiderwick Chronicles The rebellious Jared and his twin brother (both played by Freddie Highmore) move into a dilapidated mansion along with their sister and newly divorced mom. In the attic, Jared finds Arthur Spiderwick’s Field Guide to the Fantastical World Around You and discovers the existence of brownies, (hob)goblins and sprites, not to mention the ogre Mulgarath (Nick Nolte), who wants the Field Guide to rule the world. The children’s battle against Mulgarath’s army is of course a metaphor for a dysfunctional family pulling together. But, except for some enchanting moments, much of the film gets lost in chaos and chase scenes. Directed by Mark Waters; based on the books by Holly Black and Tony DiTerlizzi. (GR) 97 min. Kriterion, Pathé De Munt
2 Days in Paris New York sweethearts Marion (Julie Delpy) and Jack (Adam Goldberg) are on holiday in Europe, and by the time they reach Paris to visit Marion’s parents, the culture clash is overwhelming. Every man in the city seems to have had an affair with Marion, and her family’s sense of humour is driving Jack crazy. 2 Days in Paris is the exact opposite of Before Sunrise and Before Sunset, the bittersweet films that brought Delpy modest fame. She wrote and directed this movie herself, showing the other side of love and relationships: the side that hurts, annoys and drives people apart even if they seem destined for each other. Laugh-out-loud funny and, in a surprisingly tender finale, very touching as well. (MP) 96 min. De Uitkijk 27 Dresses Katherine Heigl stars as a compulsive bridesmaid—she cultivates friends for the sole purpose of joining their wedding parties. Secretly in love with her boss (Edward Burns), she has to negotiate an emotional obstacle course after he proposes to her dependent and popular younger sister (Malin Akerman). Meanwhile a wedding reporter (James Marsden) has been dogging the older sister’s steps, writing a story about her compulsion. For most of this romantic comedy, fatuous contrivances run neck and neck with what seem to be authentic observations about repressed sibling rivalry; some of the latter are
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The Spiderwick Chronicles too painful to be funny, and eventually the contrivances win out, but the cast keeps it all watchable. Anne Fletcher directed. (JR) 111 min. Pathé ArenA, Pathé De Munt, Pathé Tuschinski 4 maanden, 3 weken en 2 dagen Romanian cinema seems to have found a niche for sober, socially committed dramas. After The Death of Mr Lazarescu (the failing health care system) and 12:08 East of Bucharest (the revolution of 1989), Cristian Mungiu’s 4 months, 3 weeks and 2 days focuses on the ban on abortion under Ceau&#351;escu. Student Otilia agrees to help her roommate Gabita with the preparations for an illegal termination of her pregnancy. But to see 4, 3, 2 only as an anti-abortion film would be to miss the point. Their act is merely the tool with which the two women’s friendship is tested and proven. The film won this year’s Palme d’Or in Cannes. In Romanian with Dutch subtitles. (BS) Het Ketelhuis
Atonement Based on the novel by Ian McEwan, adapted by Christopher Hampton and directed by Joe Wright (Pride and Prejudice), Atonement tells the story of a single tragic lie with horrendous consequences. This genre-melding film opens in 1935, when 13-yearold fledgling writer Briony Tallis accuses her older sister’s boyfriend of a crime he didn’t commit. Five years later, at the start of the Second World War, the young man is released from prison on the condition he join the army. In 1999, Briony as a dying novelist still feels she has to atone for bearing false witness. Starring Keira Knightley, James McAvoy and Vanessa Redgrave, Atonement is one beautiful film. (GR) Cinecenter Auf der anderen Seite Two coffins pass through the Istanbul airport for the people left behind, life takes unexpected turns. Fatih Akin’s new film tells the story of six people in Germany and Turkey whose lives are
10,000 BC connected by two deaths: the widower Ali and his son Nejat; a woman named Yeter, her daughter Ayten, who meets a girl called Lotte; and Lotte’s mother (Hanna Schygulla). After a sad film about love, Gegen die Wand, Akin has made an optimistic film about mortality, families and forgiveness. The film seems heavily edited—it’s clear the director had a lot more material—but the episodic character of the film saves it from appearing pieced-together. Akin’s screenplay won top honours at Cannes. In German with Dutch subtitles. (SG) 122 min. Rialto
Away from Her ‘Not another Alzheimer movie!’ you might say. Yes, another loving husband is going to check his wife of many years into a nursing home, then try to piece their memories together through the cracks of her illness. Yes, he’ll bring flowers. Yes, he’ll read to her. Yes, there will be flashbacks. But Away from Her, the directorial debut of actress Sarah Polley (based on a short story by Alice Munro), is that rare thing, a gripping, powerful drama filled with fabulous performances. Julie Christie hasn’t had a role to shine in like this in ages; her piercing blue eyes let us in on Fiona’s troubled soul, but also give us one more glimpse into her timeless beauty. (MB) 110 min. Cinecenter The Band’s Visit In this year’s art-house hit, the Alexandria Ceremonial Police Band, a small combo specialising in traditional Arab repertoire, flies from Egypt to Israel to play at the opening of a cultural centre. When their guide fails to meet them at the airport, they take the wrong bus and end up in the wrong city. To their rescue comes beautiful Dina (Israeli superstar Ronit Elkabetz), the owner of the only café in town, who sees the band’s arrival as both a business opportunity and a chance to relieve the local boredom. Directed with a firm hand by Eran Kolirin, who also
wrote the original screenplay, The Band’s Visit gently lets you inside its unique sense of humour. The moment when the band is finally allowed to play its repertoire is the cherry on top of an appealing cinematic dessert. (MB) 87 min. Kriterion, Rialto
incompetence as a husband and father. The film is beautifully shot in black-and-white, though the stark contrasts and grey hues serve mainly to underline the desolation of the Manchester suburbs, and of Ian himself. (BS) 119 min. Melkweg Cinema
Caramel Layale’s beauty salon in Beirut is a shabby affair: the water regularly gets shut off, the power goes out, and hot caramel is used as a primitive form of waxing. Meanwhile, five women connected to the shop struggle with various social pressures surrounding their love affairs. Extramarital affairs, lesbian relationships, dominant mothers, sex before marriage and sex after menopause are difficult barriers to overcome in a religious hot zone like Beirut. Director Nadine Labaki, who also plays Layale, portrays her love/hate affair with the war-struck city in a highly entertaining way, with lots of meaning hidden under the cosmetic surface. In Arabic/French with Dutch subtitles. (MdR) 95 min. Cinema Amstelveen, Rialto
Charlie Wilson’s War Mike Nichols works his mojo on the supposedly true story of a swaggering Democratic Texan congressman (Tom Hanks), a born-again, boozing socialite (Julia Roberts) and a tough-as-nails spy (Philip Seymour Hoffman) who supported the mujahedeen uprising against the mighty Russian army. This culminated in the end of the Cold War and, eventually, the rise of Al Qaida. The tone is just a bit breezier than it might have been, but Hanks and Roberts break out of their cookie-cutter stereotypes and deliver great portrayals, even managing to keep up with another boisterous performance by Hoffman. (LvH) 96 min. Pathé De Munt, Pathé Tuschinski
Control In this biopic on singer/songwriter Ian Curtis, photographer and video director Anton Corbijn dares to be critical: Ian isn’t a tragic hero, but a bit of a wimp who uses his band as an escape from his own
Darjeeling Limited Sometimes you travel through life with some extra baggage. In the case of the Whitman brothers, it’s a luxury Louis Vuitton set that looks colourful and flashy even in India. A year after their father’s funeral, Francis (Owen Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman) meet aboard a train for a journey of spiritual healing. The fact that they have not spoken to each other in a year doesn’t prevent them from getting straight into the family’s old dynamics, which involve manic tics, substance abuse and sexual escapades. But soon both the emotional and the physical baggage starts to fall away. Film-maker Wes Anderson (Rushmore, The Royal Tenenbaums), much like his characters, has found his grown-up voice. This delicious curry comedy is a rich plate for film-goers, entertaining and poignant, just as it should be. (MB) 108 min. Kriterion Earth This full-length documentary version of the British TV series Planet Earth follows a polar bear family, a herd of elephants and two humpback whales in their daily struggle for survival. Directed by Alastair Fothergill (Deep Blue) and Mark Linfield. 96 min. Pathé Tuschinski, De Uitkijk
Gone Baby Gone Adapted from a novel by Dennis Lehane (Mystic River), this powerful mystery centres on the disappearance of a four-year-old girl whose life has already been sadly defined by her vile single mother and grim working-class Boston neighbourhood. The girl’s aunt hires a pair of private detectives (Casey Affleck, Michelle Monaghan) to assist the police, and as they get closer to the truth, even the
Special screenings Altered States There isn’t a lucid moment in this 1980 Ken Russell film, starring William Hurt, and much of the dialogue is rendered unintelligible by Russell’s subversive direction, but it has dash, style and good looks, as well as the funniest curtain line since Some Like It Hot. Also showing: The Trip, Roger Corman’s 1967 film about LSD, with Peter Fonda, Dennis Hopper and a screenplay by Jack Nicholson. (DK) OT301
The Big Lebowski Probably the Coen brothers’
most enjoyable movie, glittering with imagination, cleverness and film-making skill. The story has something to do with Jeff Bridges being mistaken for a Pasadena millionaire, which ultimately involves him as an amateur sleuth in a kidnapping plot. A nice portrait of low-rent LA emerges from this unstable brew, as does a riotous dream sequence about bowling. (JR) 117 min. The Movies
Charade A terrifically entertaining 1963 comedy-
thriller by Stanley Donen. Audrey Hepburn, freshly and not unhappily widowed, is pursued by a gang of her late husband’s war buddies, who think she now possesses the money they stole in combat. Cary Grant appears to be her only ally, until he starts doing strange things, too—such as taking a shower with his clothes on. There’s a marvellous use of Paris locations, as you’d expect from the director of Funny Face. (DK) 113 min. Filmhuis Griffioen
Days of Heaven Terrence Malick’s remarkably
rich second feature (1978) is a story of human lives touched and passed over by the divine, told in a rush of stunning and precise imagery. A steelworker and his lover leave Chicago and ride boxcars across the open West; they find work at a farm, where a love triangle gets out of control. Nestor Almendros’ cinematography is as sharp and vivid as Malick’s narration is elliptical and enigmatic. The result is a film that hovers just beyond our grasp—mysterious, beautiful, and, very possibly, a masterpiece. With Richard Gere, Brooke Adams and Sam Shepard. (DK) 94 min. De Roode Bioscoop
Deep Throat This 1972 hardcore flick, with Linda Lovelace in the title role, was the first, and one of the last, porn films to be distributed in cinemas. It ultimately provoked a powerful anti-porn backlash, particularly since Lovelace later claimed she had been violently coerced into making the film. 61 min. Melkweg Cinema The Fish Fall in Love After 22 years of absence Aziz returns to his birthplace to reclaim his family home, only to discover that it has been turned into a profitable restaurant by the woman he abandoned. Purportedly inspired by The Thousand and One Nights, this Iranian movie plays more like a soap opera than an inspired fable. The whole story hinges on a single misunderstanding which should have been resolved in two seconds. Instead it is drawn out for 96 minutes—-with obvious mind-numbing effect. In Persian with Dutch subtitles. (BS) KIT Tropentheater, Kleine Zaal Gen zoekt boer Dutch documentary on the dangers of genetically modified crops. Discussion follows. De Balie Una giornata particolare Ettore Scola’s 1977 classic is an exception to the rule of political films: it doesn’t let its ideas get in the way of either style or subtlety. Set in Rome on the day of the historic meeting between Hitler and Mussolini, it is clearly an anti-Fascist statement. (Fascism creeping into everyday life is simply but brilliantly illustrated by a blaring radio that won’t stop spitting out propaganda). But everything about it is refined, from the excellent performances of Marcello Mastroianni and Sophia Loren to the art direction and the music. And the story of the friendship between a housewife (Loren) and her homosexual neighbour (Mastroianni) is still highly moving. In Italian with Dutch subtitles. (MM) 110 min. Kriterion The Harder They Come Jimmy Cliff stars in this 1973 Jamaican film about a reggae singer who gets on the wrong side of the law. The legendary soundtrack features Cliff, Desmond Dekker, Toots & the Maytals (‘Pressure Drop’) and more. In English with English subtitles. 103 min. De Nieuwe Anita
Komedie om geld This 1936 Dutch ‘comedy about money’, directed by Max Ophüls, was commissioned by Abraham Tuschinski to celebrate the 15th anniversary of his cinema. In Dutch with English subtitles. 81 min. Pathé Tuschinski Kriterion Sarajevo Balkan Boogie Benefit party for Kriterion’s sister cinema in Bosnia. With DJ Pizdabolkin (Balkan Beatz), Mala Vita Acustica!, Caspian Hat Dance and DJ Amra Von Peroxide. Kriterion Pride and Prejudice Jane Austen’s 1813 novel of five sisters negotiating social marriages gets an agreeably kicky new hairdo in the 2005 version, from the producers who brought you Love, Actually. Keira Knightley makes a feisty Elizabeth Bennet, and Bond girl Rosamund Pike shows respectable range as Elizabeth’s doubtful, compromised older sister Jane. Matthew Macfadyen is a bland and sulky Darcy, but the movie flames to life whenever Donald Sutherland moves into frame as the relaxed, humourous and magnificently rueful father. Joe Wright directed; with Brenda Blethyn, Simon Woods, Rupert Friend, Tom Hollander and Judi Dench. (JJ) 125 min. Rialto Sessue Hayakawa films Sessue Hayakawa played the Japanese colonel in The Bridge on the River Kwai, but years earlier the Japanese-American actor was Hollywood’s first non-white director and star, a romantic lead in silent films. Much of his work has been lost, but after a retrospective in New York last year, the Filmmuseum went looking in its archives and found parts of three Hayakawa movies—the only copies in the world. The Man Beneath (1919) is nearly complete. His Birthright is missing acts 1 and 4, and of The Courageous Coward only the last reel survives. Showing with live music. Filmmuseum Sigur Rós: Heima The Icelandic band toured their home island last year, playing unannounced in venues big and small. This concert film is the result. 97 min. Melkweg Cinema Songs from the Second Floor Working with no script and mostly non-professional actors, Swedish director
Roy Andersson tells the story of a middle-aged businessman so worn down by caring for his mentally ill son that he decides to burn down his factory. The lugubrious, impressionistic music is by Benny Andersson of Abba. In Swedish with Dutch subtitles. (TS) 98 min. Filmmuseum, Studio K Trois Couleurs: Rouge The third and best feature (1994) of Krzysztof Kieslowski’s ambitious ‘Three Colors’ trilogy concentrates on the theme of fraternity (Blue tackled liberty, White equality). The principal characters are a young student and model (Irene Jacob) and a cynical retired judge (Jean-Louis Trintignant) whose paths cross by chance in Geneva, and in a way their meeting comes to stand for a good many of the other accidental incidents threaded through this densely textured movie. In French with Dutch subtitles. (JR) 99 min. Cavia U People US video documentary about gay women of colour, shot in a Brooklyn brownstone and directed by Hanifah Walidah. Showing in connection with the Black Soil hiphop festival. Q&A follows. 82 min. De Uitkijk Who Is Bozo Texino? This 2006 experimental documentary by Bill Daniel looks at the 100-year history of hobo graffiti. Also showing: Catching Out, Sarah George’s Sarah George’s film on modern-day hoboes still riding the rails. OT301 Yella Yella (Nina Hoss) leaves her small East German hometown to find love and a new career—but her past follows her and her dreams prove to be risky. This film by Christian Petzold won the Silver Bear at this year’s Berlinale. In German with Dutch subtitles. Rialto Zeitgeist the Movie In this new documentary, director Peter Joseph attacks the myths that he believes have held people in their power for centuries, starting with the Bible, and encourages us to think for ourselves. The discussion afterwards will include D66 representative Boris van der Ham. 118 min. Kriterion
20 child’s rescue begins to seem like a tragic fate. Ben Affleck directed; his biggest gamble was casting his irksome little brother as a pistol-whipping tough guy, but the picture is so superbly executed in every other respect that Casey seems more quirky than miscast. With Amy Ryan, Ed Harris and Morgan Freeman. (JJ) 104 min. Cinema Amstelveen
Heimatklänge Stefan Schwietert’s documentary opens with the Swiss musical cliché: man on a mountaintop, exuberantly yodeling. This enduring ‘Heidiland’ image keeps coming back to haunt this film about three performers whose work couldn’t be less like the stereotype. Avant-garde vocalists Erika Stucky, Noldi Alder and Christian Zehnder have all in their own way managed to take back yodeling for art and soul. Schwietert has a talent for letting artists explain how and where they find inspiration; he follows the three musicians to key sites, where they reflect on their lives and their art. A highly watchable music documentary, gorgeous and engaging. In German with Dutch subtitles. (BP) 82 min. Filmmuseum How to Get Rid of the Others Danish director Ronow Klarlund delivers an uncompromising and hilarious critique on right-wing populist conservatism in this political satire in which Denmark is turned into a fascist state. Drug addicts, the disabled, the unemployed and other social rejects are executed for their failure to contribute to society. When a former government official (Louise Miertiz) blows the whistle, she too is imprisoned in a school gymnasium to await death, along with six other misfits. But if the prisoners can still prove to the charming but cruel army officer in charge that they have done something for the common good, he will have to let them go. (IS) Melkweg Cinema John Rambo The never-ending ’80s flashback has even managed to resurrect the on-screen career of Rambo, that quintessential Cold Warrior, in a flick that takes all its cues from the action films of that era and adds a big bloody helping of digital carnage. (LvH) 91 min. Pathé ArenA, Pathé De Munt
is shown by their increasing lack of garments, until, by the end of the film, we see them not only completely naked but dancing around in the rain, and feel we have gotten to know them. In Hands’s brilliantly natural, César-winning performance, Lady Chatterley is both funny and moving: you can’t help feeling for her. Hands has moved Lawrence’s novel past the pornographic and the feminist to the human level. (MM) Rialto Das Leben der Anderen This Oscar winner by Florian Henckel von Donnersmarck mostly deserves all the praise and admiration it has received. A study in the dehumanising effects of state surveillance, it focuses on two men living in East Germany in 1984: a playwright (Sebastian Koch) who attracts the interest of the state and a Stasi officer (Ulrich Mühe) whose loyalty to the socialist cause is starting to erode. Predictable and slightly distant, but also disturbing and effective. In German with Dutch subtitles. (LvH) 137 min. Rialto
Love in the Time of Cholera Love in the Time of Cholera This romantic drama by director Mike Newell preserves the odd playfulness of Gabriel García Márquez’s international best seller but sacrifices its eroticism and intricate nonlinear plotting. Javier Bardem is miscast as a timid Colombian clerk and would-be poet whose first love, a fickle, headstrong beauty (Giovanna Mezzogiorno), spurns him for an aristocratic doctor (Benjamin Bratt, excellent). The clerk becomes a wealthy shipping magnate and pines for her over more than 50 years, consoling himself with hundreds of affairs. (AG) 138 min. The Movies, Pathé Tuschinski
Mio fratello è figlio unico Accio Benassi (Elio Ger-
Jumper Jumper In this semi-superhero flick by the talented yet inscrutable Doug Liman (The Bourne Identity, Mr and Mrs Smith), a group of twenty-somethings have the ability to teleport at will. Now they just have to avoid the bad-ass secret agents who are after them. With the bad-ass role being filled by Samuel L Jackson, and with Hayden Christensen and Jamie Bell (Hallam Foe) as the jumpers, the casting is pretty solid, and the Colosseum, the Sphinx and Big Ben are colourful locations indeed. But it isn’t enough for the film to rise above the mildly entertaining level. (LvH) 88 min. Pathé ArenA, Pathé De Munt
Juno Juno (Ellen Page) is 16. Juno is full of life and
sarcasm. Juno is pregnant. Oops. She gives up the thought of abortion after hearing that her baby has already developed fingernails and instead starts looking for adoptive parents. She finds the perfect couple in Mark and Vanessa. They’re wealthy, nice and Mark might even qualify as cool, since he shares Juno’s taste in music and splatter movies. Ellen Page is beyond perfect as the wisecracking but friendly Juno, who’s bright, yet young and naïve enough to think that there is no harm in spending time with the adoptive father of her unborn child. Add a solid script and a great soundtrack and there you have it: this year’s independent American masterpiece. Directed by Jason Reitman. (MP) 92 min. Cinecenter, Kriterion, The Movies, Pathé De Munt, Studio K The Kite Runner After his poignant Monster’s Ball, his pensive Finding Neverland and the daringly different Stranger than Fiction—unreleased here—director Marc Foster offers us a solid and visually arresting but emotionally drained adaptation of Khaled Hosseini’s novel. The main character, Afghan-born Amir (played by Scottish-Egyptian actor Khalid Abdalla), doesn’t evoke much sympathy—or any other emotion. When he was young, he shared a close friendship with servant boy Hassan, the kite runner of the title, but later fell out with him. Still heavily conflicted about his misconduct as a youth, he returns to Afghanistan to ‘be good again’. In English/Dari/Pashtu/Urdu/Russian with Dutch subtitles. (BS) 128 min. The Movies, Pathé Tuschinski, Studio K
Lady Chatterley In the hands of Pascale Ferran,
and in French, DH Lawrence’s classic novel becomes an almost spiritual film about the transforming power of love and sex. The first time Constance Chatterley (Marina Hands) and her gamekeeper Parkin (JeanLouis Coullo’ch) do it, things are a bit clumsy—and they both remain fully clothed. Their growing intimacy
mano) feels like the least valued member of his family. Perhaps correctly: Accio isn’t his real name, but a nickname meaning ‘pain in the ass’. So Accio does everything possible to live up to his name, including leaving the seminary and joining the Fascist party. Luckily the viewer realises—even if Accio himself does not—that his actions are driven not by idealism but provocation. He is no more a serious fascist than his socialist brother Manrico (Riccardo Scamarcio) is a saint. A lighter, less portentous version of La Meglio gioventù—also focusing on two brothers in turbulent Italy. Daniele Luchetti directed. In Italian with Dutch subtitles. (BS) 118 min. Het Ketelhuis, Rialto My Blueberry Nights Wong Kar Wai’s films have always depended on subtle communication, both spoken and unspoken. In his Hollywood debut, My Blueberry Nights, it’s clear that he’s underestimated the problems of translating those subtleties into English. The singer Norah Jones stars as a New Yorker on a soul-searching journey through America. Excellent performances by Rachel Weisz and David Strathairn (as an alcoholic couple) and Natalie Portman (as a Las Vegas poker addict) can’t make up for Jones’s blankness, or for the uninspired, glossy-magazine script by Wong and Lawrence Block. (MdR) 111 min. Filmhuis Griffioen
Naissance des pieuvres Céline Sciamma’s rav-
ishing and unnerving debut feature takes us through the teenage agonies of its three female protagonists, the 15-year-olds Anne, Marie and Floriane, as each experiences her own particular sexual awakening one summer in the suburbs of Paris. The focal point is the local swimming pool, where Floriane is the leader of a synchronised swim team. The film tells its story predominantly through close-ups of the girls’ faces as they act out their emotional and physical dramas: Anne and Floriane stand on the threshold of a heterosexual adult world, whereas Marie is in love with Floriane. In French with Dutch subtitles. (AD) 85 min. Cinecenter
No Country for Old Men
No Country for Old Men The Coen Brothers’ latest brings Cormac McCarthy’s novel to the big screen, and it’s a shock to the system, simultaneously elegiac and terrifyingly violent. A subversion of the classic lawmen-chase-outlaw genre, the film is shot like a cross between a Western and a horror flick. A Texan named Llewellyn Moss (Josh Brolin) takes off with millions in cash he’s found at the site of a drug deal gone wrong. Tommy Lee Jones is the laconic Sheriff Bell, trying to
bring Moss in; Javier Bardem is Chigurh, the Terminator hitman dispatched by the cartel. The Coens give us none of the usual male-bonding, hunter-and-hunted nonsense: Chigurh, Bell and Moss are entirely alone, each in his own way, particularly Moss as the slaughter inevitably catches up with him. A stunning piece of cinema. (AD) 122 min. The Movies, Pathé ArenA, Pathé De Munt, Pathé Tuschinski The Other Boleyn Girl Love, sex, ambition, rivalry and intrigue are the keywords of this bodice-ripper set in 16th-century England. Anne Boleyn (Natalie Portman) and her sister Mary (Scarlett Johansson) are seen only as commodities by their scheming father and uncle. Both girls compete for the love of King Henry VIII, and both end up in his bed, but only the manipulative Anne will marry him and become queen. The sumptuous props and costumes and the vibrant colour schemes are sure to please period-movie fans. But the film focuses on the relationship between Anne and Mary at the expense of the historical context: the divorce of Henry VIII from Katherine of Aragon and the subsequent rift between England and the Catholic Church are mentioned only in passing. The result feels romanticised and oversimplified. Directed by Justin Chadwick. (GR) 115 min. Pathé ArenA, Pathé De Munt, Pathé Tuschinski
Paranoid Park At first, nothing much seems to be going on in Paranoid Park, the new film by Gus Van Sant. Using a cast of unknown skater kids recruited from MySpace, the director sets a documentary-style scene, much as he did in his previous films, Gerry, Elephant and Last Days. Among the teenagers who hang around a skate park is Alex, a 16-year-old who seems more interested in writing than anything else. Over the course of the film Van Sant shows similar scenes from different vantage points, gradually revealing that Alex has a horrible secret, one that he tries to articulate in his writing. In the beginning Alex seems emotionally flat, but it becomes clear that he’s extremely restrained, with good reason. The clever use of music and the versatile camera work of Christopher Doyle support this brilliant exercise in cinematic storytelling. (MdR) 85 min. Het Ketelhuis, Kriterion
Persepolis A satisfying adaptation of the autobio-
graphical graphic novel about a girl coming of age in Iran during the Islamic revolution in the 1970s, struggling with everything from tight headscarves to bomb threats. In a cute and comical hand-drawn style, the book’s writer and illustrator, Marjane Satrapi, and her co-director, Vincent Paronnaud, draw parallels between a girl’s passage from innocence to puberty and the violent transition of a civilised country into a fundamentalist state. Even a denunciation from the Iranian government couldn’t stop the screening of this irresistible and intelligent charm offensive. The English, as opposed to the French, version is showing; voices include Catherine Deneuve, Sean Penn and Iggy Pop. Subtitled in Dutch. (MdR) 95 min. Rialto
Professione: Reporter Known in English as The
Passenger, this 1975 film is a masterpiece, one of Michelangelo Antonioni’s finest works. Jack Nicholson and Maria Schneider star as a journalist who trades one identity for another and the woman who becomes his accomplice and, ultimately, the moral center of his adopted world. Less a thriller (though the mood of mystery is pervasive) than a meditation on the problems of knowledge, action for its own sake, and the relationship of the artist to the work he brings into being. Next to this film, Blow-Up seems a facile, though necessary, preliminary. By all means go. In English. (DD) 116 min. Filmmuseum
Rendition They say the road to hell is paved with good intentions, but sometimes good intentions pave the red carpet to your tasteful local cinema. This is the case with Rendition, an overzealous attempt at heavyhanded Hollywood screenwriting designed to impart to American audiences that torture = bad. While it’s a noble thing to make a film that counterbalances the interrogation porn of 24, and it’s nice to jazz it up with great actors (Jake Gyllenhaal, Meryl Streep), anybody who has been following the news should know all this already. And as always, the truth in this matter is far more insidious and noxious than fiction. Directed by Gavin Hood, apparently as a transitional project between his art-house hit Tsotsi and the upcoming XMen: Wolverine. (LvH) 120 min. Pathé ArenA, Pathé De Munt Reprise Norwegian students Erik and Phillip aspire to become influential cult authors. At the start we see them posting their manuscripts. Later on Phillip achieves mild success but suffers a nervous break-
13-19 March 2008 down, while Erik confronts his lack of talent. In between, comic interactions between them and their bohemian mates and pretty girlfriends alternate with tragic episodes. Directed by Joachim Trier, Reprise displays fresh cinematic talent and is enjoyable for its pop culture references—combining, for example, French nouvelle vague cinema with British new wave music. Reprise doesn’t lack coolness, either. But it does lose its narrative focus towards the end, and ultimately fails to penetrate the surface. In Norwegian with Dutch subtitles. (MdR) 105 min. Kriterion
Stellet Licht Stellet Licht The films of Mexican director Carlos Reygadas are an acquired taste. Not everyone will warm to his distinctive visual style, his use of an amateur cast and his uncompromising depiction of human nature. But if you’re looking for something out of the ordinary, Reygadas certainly delivers. His third feature, Stellet Licht (‘Silent Light’), starts at dawn and ends at dusk; it’s a meditative and languid tale about a married farmer, in a small Mennonite enclave in northern Mexico, who falls for another woman and thinks it might be a sign from God. In Plautdietsch with Dutch subtitles. (BS) 127 min. Het Ketelhuis, Rialto Sweeney Todd:The Demon Barber of Fleet Street If musicals aren’t your slice of pie, then Tim Burton’s reverential adaptation of Stephen Sondheim’s show about a barber out for revenge won’t tantalise your taste buds, but the gorgeously Gothic production values are yummy eye candy all the same. The film is leached of all colour except for frequent gushes of crimson, evoking the Grand Guignol theatrical tradition using state-of-the-art techniques. Johnny Depp and Helena Bonham Carter aren’t the most accomplished of singers, but they hold their own and look the part, though Sascha Baron Cohen once again steals the show in a supporting role. With Alan Rickman and Timothy Spall. (LvH) 116 min. Pathé De Munt, Pathé Tuschinski, Studio K TBS A convicted murderer escapes from a psychiatric ward and kidnaps a 13-year-old girl in this thriller by Pieter Kuijpers (Van God Los, Dennis P). A great performance by Theo Maassen isn’t quite enough to save the film, but it might still make it worth watching. In Dutch. 88 min. Het Ketelhuis
There Will Be Blood An epic film of intimate pro-
portions about a ruthlessly ambitious oil baron who comes into conflict with a charismatic young preacher in the California desert in the early 20th century. A powerhouse performance by Daniel Day-Lewis as Daniel Plainview netted him a rightly deserved Academy Award, but Paul Dano’s performance as the weaselly Eli Sunday is also impressive to say the least. Don’t let the sprawling length or the emotional investment the film asks of its viewers deter you: There Will Be Blood is a true masterpiece that any serious film lover simply cannot afford to miss. Directed by Paul Thomas Anderson (Magnolia). (LvH) 159 min. Cinecenter, The Movies, Pathé De Munt, Pathé Tuschinski Tiramisu Bookkeeper Jacob (Jacob Derwig) has a new client, the talented but loud stage actress Anne (Anneke Blok). Her paperwork is a mess. Her life isn’t much better: her ex (Gijs Scholten van Aschat) has found a younger girlfriend and Anne is so heavily in debt that she needs to sell her houseboat. It sounds like the setup to a romantic comedy. Instead, this feature by Paula van der Oest (Zus en Zo) turns out to be a meandering melodrama, complete with uninteresting developments and an unsatisfactory climax, despite the presence of the formidable Anneke Blok (Alles is liefde). Definitely a missed opportunity. In Dutch. (BS) 90 min. Het Ketelhuis, De Uitkijk
You, the Living A brutally deadpan comedy by Swedish director Roy Andersson, who seems to have translated the entire range of human misery into a loosely connected series of slapstick gags. His black humor is impressively layered, each layer darker than the last: when a joker at a family banquet insists on performing that old parlour trick of yanking the tablecloth out from under the dishes, he not only shatters a huge collection of crystal and china but also reveals— look sharp or you’ll miss it—a vintage dining table inlaid with swastikas. Andersson’s building block is a static long shot so solidly composed it suggests a panel in a comic strip; the central figure is often encased in his own suffering, and sometimes additional laughs come from a background figure surveying his despair in open-mouthed bewilderment. (JJ) 94 min. Filmmuseum, Kriterion
13-19 March 2008
FILM TIMES Thursday 13 March until Wednesday 19 March Times are provided by cinemas and are subject to last-minute changes.Film times also at www.amsterdamweekly.nl De Balie Kleine-Gartmanplantsoen 10, 553 5151 Amsterdam Shorts--Teasers #2: Kunst Kino Fri, Sat 20.30 Gen zoekt boer Sat 19.30. Cavia Van Hallstraat 52-I, 681 1419 Trois Couleurs: Rouge Thur, Fri 20.30. Cinecenter Lijnbaansgracht 236, 623 6615 Atonement daily 16.15, 19.15, 21.45, Sun also 11.00, 13.30 Away from Her daily 16.00 Juno daily 19.00, 22.00, Sun also 11.00, 14.00 Naissance des pieuvres daily 16.15, 19.30, 21.45, Sun also 11.15, 14.00 There Will Be Blood daily 15.45, 18.45, 21.00, Sun also 12.30. Cinema Amstelveen Plein 1960 2, Amstelveen, 547 5175 Alvin en de Chipmunks Wed 13.30 Caramel Sun 16.30, Tues, Wed 20.30 Desmond en het Moerasmonster Sat 13.30, Sun 12.00 Gone Baby Gone Thur-Sat 20.30 Trigger Sat, Wed 15.30, Sun 14.00. Filmhuis Griffioen Uilenstede 106, Amstelveen, 444 5100 Charade Fri 19.30 My Blueberry Nights Thur, Tues 19.30. Filmmuseum Vondelpark 3, 589 1400 Aleksandra Thur-Mon, Wed 17.30, 19.30, Tues 17.30, 22.15 The Courageous Coward Sun 16.00 Desmond en het Moerasmonster Sun, Wed 13.45 Heimatklänge Sun 15.30, Tues 18.10 His Birthright Sun 16.00 The Man Beneath Sun 17.45 Professione: Reporter Thur-Mon, Wed 21.30, Tues 19.30 Sessue Hayakawa films Songs from the Second Floor Sun, Mon, Tues 21.45 Trigger Sun, Wed 14.00 You, the Living Thur, Sat-Wed 19.45 Thur, Sat, Wed also 21.45 Fri, Sat, Mon, Wed also 17.45. Het Ketelhuis Haarlemmerweg 8-10, 684 0090 4 maanden, 3 weken en 2 dagen daily 17.00, Sat, Sun, Wed also 14.30 De Avonturen van het Molletje Sat, Sun, Wed 13.30 Desmond en het Moerasmonster Sat, Sun, Wed 13.00 Mio fratello è figlio unico Thur-Tues 21.45 Paranoid Park daily 16.45 Skin Thur-Tues 19.30 Stellet Licht daily 19.15 TBS daily 22.00, Sat, Sun, Wed also 14.45 Tiramisu daily 17.15, 19.45, 21.30, Sat, Sun, Wed also 15.15 Trigger Sat, Sun, Wed 13.15. KIT Tropentheater, Kleine Zaal Linnaeusstraat 2, 568 8500 The Fish Fall in Love Tues, Wed 20.30. Kriterion Roetersstraat 170, 623 1708 The Band's Visit Thur-Tues 17.00 The Darjeeling Limited Thur-Mon, Wed 22.15, Thur, Sat-Wed 20.00, Fri also 19.15 giornata particolare, Una Mon 22.00 I'm Not There Thur, Sat-Wed 19.15, Thur, Sat, Sun, Tues, Wed also 22.00, Fri 21.15 Juno daily 18.00 Kriterion Sarajevo Balkan Boogie Sat 21.00 De Notenkraker Sun 11.00, Wed 15.00 Paranoid Park daily 17.15, Fri 0.00 Pippi gaat van boord Sat 15.00 Reprise Sun 15.00, Wed 17.00 Sneak Preview Tues 22.15 The Spiderwick Chronicles Sun, Wed 15.45 De Wonderwinkel van Mr Magorium Sat, Sun, Wed 13.15, 15.15 You, the Living daily 19.00, Thur, Fri, Sun-Wed also 21.15 Zeitgeist the Movie Sat 13.00. Melkweg Cinema Lijnbaansgracht 234A, 624 1777 Control Thur, Sat 21.00 Deep Throat Sun 21.00 How to Get Rid of the Others Mon-Wed 21.00 Sigur Rós: Heima Thur-Sun, Wed 19.00. The Movies Haarlemmerdijk 159-165, 638 6016 Asterix en de Olympische Spelen Sun 14.30 The Big Lebowski Fri, Sat 0.20 I'm Not There daily 19.00, 21.30, Sat, Sun, Wed also 14.00, Sat also 0.00, Sun also 11.30 Juno daily 17.15, 21.45, Sat also 23.45 The Kite Runner daily 19.15, Sat, Wed also 14.30 Love in the Time of Cholera daily 16.30 No Country for Old Men daily 17.00, 19.30, 22.00, Sat also 0.15, Sun also 12.15 De Spiderwick-Kronieken Sat, Sun , Wed 15.00, Sun also 12.45 There Will Be Blood daily 15.30, 18.30, 21.30, Sun also 12.30. De Nieuwe Anita Frederik Hendrikstraat 111, 06 4150 3512, The Harder They Come Mon 20.30. OT301 Overtoom 301, 779 4913 Altered States Tues 20.30 Catching Out Sun 20.30 The Trip Tues 20.30 Who Is Bozo Texino? Sun 20.30. Pathé ArenA ArenA Boulevard 600, 0900 1458 10,000 BC daily 12.45, 14.00, 15.15, 16.30, 17.45, 19.00, 21.30, Thur-Mon, Wed also 20.15, Sat also 10.15, 22.40, 0.00, Sun also 11.30, Tues also 21.00 27 Dresses daily 12.00, 14.20, 16.45, 19.10, 21.30, Sat also 23.50 Alibi daily 19.20, 21.30, Thur, Mon, Tues also 13.00, 15.00, 17.15, Sat, Sun also 11.00, Sat also 23.50 Alvin en de Chipmunks Fri-Sun, Wed 13.20, 15.30, 17.40, Fri-Sun also 12.20, 14.40, Sat, Sun also 10.10, 10.50 Asterix en de Olympische Spelen Fri-Sun, Wed 12.10, 14.45, 17.30 Bee Movie (NL) Sat, Sun 10.10 Blind Tues 13.30 Definitely, Maybe daily 13.10, 15.40, 18.10, 20.45, Sat, Sun also 10.40, Sat also 23.30 Horton Wed 19.30, 21.50 Horton (NL) Sat, Sun 10.00, Wed 11.10, 12.30, 13.50, 14.50, 16.10, 17.10
Amsterdam Weekly John Rambo daily 20.10, 22.15, Thur, Mon, Tues also 15.40, 17.40, Thur, Mon also 13.20, Sat also 0.20 Jumper daily 20.00, 22.00, Thur, Mon, Tues also 13.30, 16.00, 18.00, Sat also 0.00 The Mist daily 21.10, Fri also 0.10 Musallat Thur-Mon 22.10 No Country for Old Men daily 17.50, 20.30, Thur, Mon, Tues also 12.20, 15.10, Sat also 23.20 The Other Boleyn Girl daily 16.10, 18.40 Recep Ivedik Thur-Mon 14.10, 17.00, 19.40, Sat, Sun also 11.45, Sat also 0.20, Tues, Wed 13.45, 16.10, 18.30 Rendition daily 13.30, 16.20, 19.10, 21.40, Sat also 0.15 Samson en Gert: Hotel op Stelten Wed 12.20, 14.05, 15.50 Sneak Preview Tues 21.15 The Spiderwick Chronicles (Imax) daily 13.45, 16.15, 18.50, 21.15, Sat, Sun also 11.20, Sat also 23.40 De Spiderwick-Kronieken Fri-Sun, Wed 12.10, 14.30, 16.50, Sat, Sun also 10.00 Step Up 2 Thur-Tues 12.30, 14.50, 16.10, 17.10, 19.30, 20.50, 21.50, Thur-Mon, Wed also 18.30, Thur, Fri, Sun-Tues also 13.50, Sat, Sun also 11.10, Sat also 10.20, 14.00, 23.10, Sun also 10.00, Tues also 18.35, Wed also 20.55 Underdog (NL) Fri-Sun, Wed 12.15, 14.15, Sat, Sun also 10.15 The Water Horse Thur, Mon, Tues 13.40 Zomerhitte Wed 21.00. Pathé De Munt Vijzelstraat 15, 0900 1458 10,000 BC daily 16.15, 19.00, Thur-Mon, Wed also 21.45, Thur, Fri, Sun-Wed also 13.30, 18.00, Thur, Fri, Sun-Tues also 15.15, 20.45, Thur, Fri, Mon, Tues also 12.30, Sat also 12.15, 15.00, 17.45, 20.30, 23.15 27 Dresses Thur, Fri, Sun-Wed 12.45, 15.30, 18.15, 21.00, Tues also 21.20, Wed also 20.45, Sat 11.00, 13.45, 16.30, 19.15, 22.00 Alibi Thur, Fri, Sun-Wed 12.00, 14.15, 16.50, 19.10, Sat 10.45, 12.50, 15.20, 17.30, 23.00 Alvin en de Chipmunks Fri, Sun, Wed 13.10, 15.20, Sat, Sun 10.15, 12.30, Sat also 11.15, 13.30, 14.45, 16.55, Sun also 11.00 Asterix en de Olympische Spelen Sat 10.40, 13.10, Sun, Wed 14.20, Sun also 11.30 Charlie Wilson's War Thur, Fri, Sun-Wed 22.00 Definitely, Maybe Thur, Fri, Sun-Wed 13.45, 16.30, 19.15, 21.50, Sun also 11.10, Sat 11.30, 14.15, 17.00, 19.45, 22.30 Horton Wed 15.10, 17.50 Horton (NL) Wed 13.00, 15.15 John Rambo Thur, Fri, Sun-Wed 17.15, 22.05, Sat 18.20, 23.10 Jumper Thur, Fri, Sun-Wed 17.45, 20.00, 22.10, Thur, Mon, Tues also 13.10, 15.20, Sat 19.10, 21.25, 23.40 Juno Thur, Fri, Sun-Wed 19.30, Thur, Fri, Mon, Tues also 12.20, 14.45, Sat 15.50, 20.45 The Mist Sat 22.50 No Country for Old Men Thur, Fri, Sun-Wed 17.30, 20.15, Thur, Fri, Sun-Tues also 12.00, 14.40, Sat 10.20, 13.15, 16.00, 18.45, 21.30 The Other Boleyn Girl Thur, Fri, Sun-Wed 14.00, 16.40, 19.20, Sun also 11.20, Sat 11.45, 14.30, 17.15, 20.00 Rendition Thur, Fri, Sun-Wed 13.00, 15.45, 18.45, 21.30, Sun also 10.20, Sat 11.10, 14.00, 16.45, 19.30, 22.15 Samson en Gert: Hotel op Stelten Wed 12.00, 13.40 Sneak Preview Tues 21.45 The Spiderwick Chronicles Thur, Fri, Sun-Wed 16.00, 18.30, 21.15, Thur, Mon, Tues also 13.15, Sat 18.00, 20.15, 22.45 De Spiderwick-Kronieken Fri, Sun, Wed 13.15, Sun also 10.50, Sat 10.30, 13.00, 15.30 Step Up 2 Thur, Fri, Sun-Wed 12.10, 14.30, 17.00, 19.40, 22.00, Sat 10.15, 12.45, 15.45, 18.30, 21.00, 23.30 Sweeney Todd:The Demon Barber of Fleet Street Thur, Fri, Sun, Mon, Wed 21.20, Sat 20.20 There Will Be Blood Thur, Fri, Sun-Wed 20.15, Thur, Fri, SunTues also 16.45, Thur, Fri, Mon, Tues also 13.20, Sat 18.15, 21.50 The Water Horse Sat 12.00, 15.15, Sun 11.15, 14.00, Wed 12.30. Pathé Tuschinski Reguliersbreestraat 34, 0900 1458 27 Dresses Thur-Sun, Tues, Wed 19.15, 21.45, Thur-Sun, Tues also 16.30, Fri-Sun also 13.50, Mon also 13.15, 16.00, 18.30 Charlie Wilson's War Thur, Fri, Sun, Tues 16.40, Mon 16.15 Earth Thur, Fri, Sun, Tues 14.15, 19.00, Sat 12.20, 14.45, Mon 13.40 The Fox and the Child (NL) Sat, Sun 13.00 The Holiday Thur, Tues 13.30 Horton (NL) Wed 12.30, 14.40, 16.50 The Kite Runner daily 12.15, 15.00, 18.00, Thur-Sun, Tues, Wed also 21.00 Komedie om geld Sun 10.30 Love in the Time of Cholera Thur, Fri, Sun, Tues 21.20, Sat 17.20 No Country for Old Men daily 18.45, 21.30, Thur, Fri, Sun-Wed also 13.15, Thur, Fri, Sun, Tues, Wed also 16.00, Sat also 16.10 The Other Boleyn Girl Thur-Sun, Tues, Wed 15.30, 20.50, Thur, Fri, Mon-Wed 12.50, Mon also 15.45, 21.20 Perfume:The Story of a Murderer Thur, Tues 13.30 Peter Grimes (Britten) Sat 18.30 Samson en Gert: Hotel op Stelten Wed 13.00, 14.50, 16.40 De Spiderwick-Kronieken Sat 11.45, 14.00, Sun, Wed 12.10, 14.30 Sweeney Todd: The Demon Barber of Fleet Street Thur-Sun, Tues, Wed 18.10 There Will Be Blood Thur-Sun, Tues, Wed 20.30, Thur, Fri, Sun, Tues, Wed also 17.00, Thur, Fri,Tues also 13.30, Mon 12.10, 15.30, 21.00 Zomerhitte Wed 20.45. Rialto Ceintuurbaan 338, 676 8700 Auf der anderen Seite Fri, Sun-Wed 17.30 The Band's Visit daily 18.00, 19.45, Sat, Sun also 13.15, Sun also 11.30 Caramel Fri, Sat 16.45 Ferien Thur 19.30 Gespenster Sun 16.15 Lady Chatterley Thur, Sat-Wed 21.10, Sat also 13.40 Das Leben der Anderen Sun 11.15 Mio fratello è figlio unico daily 21.30, Fri-Sun, Wed also 15.50 Nachmittag Fri 19.00 New German Cinema Thur-Sun Persepolis daily 17.15, 22.00, Fri-Wed 20.00, 22.00, Fri, Sun also 15.30, Sat, Sun also 13.30 Pride and Prejudice Sun 11.00, Wed 15.00 Schläfer Sun 19.00 Sehnsucht Fri 23.15 Stellet Licht Thur, Sat, Mon-Wed 18.45, Sun also 13.15, Wed also 15.15, Fri 20.55 Yella Sat 16.00. De Roode Bioscoop Haarlemmerplein 7H, 625 7500, Days of Heaven Sun 20.30. Studio K Timorplein 62, 692 0422, In the Valley of Elah Thur, Sat 21.30, Sun-Wed 21.15 Juno Thur-Sat 19.45, Sun-Wed 19.30, Sat, Sun also 17.30 The Kite Runner Thur-Sat 19.00, Sun-Wed 18.45 Ratatouille (NL) Sat, Sun 16.15 Songs from the Second Floor Sun-Wed 21.30 Sweeney Todd: The Demon Barber of Fleet Street Thur-Sat 21.45. De Uitkijk Prinsengracht 452, 623 7460 2 Days in Paris Sun-Tues 19.00 Earth Thur-Mon 17.00 Horton Wed 15.00 Ratatouille (NL) Sat 14.45, Sun 12.45 Tiramisu Thur-Sat 19.00, Thur, Sat-Tues 21.15, Sun 15.00 U People Fri 21.30.
WEEKLY CLASSIFIEDS Ads are free, space permitting. They will be posted both to the paper and online. Guaranteed placement is available for a small fee; see our website for details. Ads may be published in English, het Nederlands or whatever language is best for you to communicate your message. How to submit an ad: via our website at www.amsterdamweekly.nl, by fax at 020 620 1666 or post to Amsterdam Weekly, De Ruyterkade 106, 1011 AB Amsterdam. Deadline: Monday at 12.00, the week of publication. AD OF THE WEEK
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