Vrijdag 4 december
Goodnightfilm avond met filmmaakster:
CINDY JANSEN!
screening:
Alice, 12:26min. (2004)
Useless is Blood, 1min. (2004)
Dont hit me I love you, 11:14min. (2008)
Come Spring, trailer 1min. (2009)
- In both her photo and film works Cindy Jansen tries to discover the esthetics the darker sides of life hide. Her images capture the beauty within loneliness, loss, veiled danger and madness; the esthetics they hide. Jansen looks for paradoxes and contradictions since she don’t experience reality as an obvious entity. She wants to address the spectator’s fascination for the unknown, the strange, so they can project their own fantasies, fears, and dreams onto the –moving- images. -
Alice
When Alice's curiosity gets the better of her, she decides to follow a car carrying a mysterious package. Her pursuit leads her to a gas station where things are not quite what they appear to be. Alice wants to escape this carnival of strangeness, but her attempts are thwarted by her own growing insanity
Alice shows the ambiguity of madness; how its sheer uncontrollability can be both charming and menacing. By planting a fairytale in Rotterdam this film criticizes the madness in life’s various layers.
Useless is Blood
The innocent are playing guilty games. When they grow up, they forget to play and remain guilty, wanting others to pay for it. This one minute film shows children “playing” games using water pistols filled with blood while the soundtrack melodically recites a poem on violence. Useless is Blood is a comment on ongoing terror. Children copy the behavior of their parents and ancestors. Violence is deeply embedded in society, with the consequence it can’t be eliminated in one generation.
Don't Hit me I love you
“That’s all I can think of: to be loved and want to be loved. And want to be needed. And want to be wanted. Mostly I want to be wanted. Being wanted means they need you and they love you.” Kathleen St. Clare. December 2008
Don’t hit me I love you, shows a woman who beats herself repeatedly. Jansen believes that codependency -and any addiction- is a captivity where the same behavior is repeated in forced repetition, without free will. She says that the image of St. Clare hitting herself shows how she ‘chose’ to live with people that kept her in the same degrading position and thus compulsively sustained the abuse. Seen as a physical metaphor, St. Clare ended up beating herself without a possibility to stop it. With this portrait Jansen tries to give the audience a sense of how St. Clare must have felt: under constant threat, powerless, longing for freedom, imprisoned by her own thoughts and behavior. The 'inner-voice' is autobiographical; the lines spoken are the words of St. Clare reliving and reflecting on her own past. The portrait is the result of an intimate collaboration, during which the actress and the director slowly unraveled St. Clare’s story.
Come Spring
Come Spring (Vogelvrij) is based on an encounter between Robert C. Hansen and Kitty Larson that took place in 1981. Two years later Hansen confessed to the murder of 17 women. Cindy Jansen plumbs this story into a dazzling flow of surrealism and horror imbedded in the beauty of nature. Robert enjoys a little hunt, just like with the big-game animals. As long as a woman goes along with what he wants out there, he lets her go home and that’s it. But his obsessive mind and his growing need to get emotional thrills has gotten stronger then these good intentions. And that means taking risks, seeking out women that can face up to him. He chooses to invite Lisa to his hunting ground. Their arrival awakens the spirits of his former victims. They come to her aid to make his blood run cold.
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