https://radar.squat.net/en/events/city/Amsterdam/group/41
Transit Levantkade
Sunday 3rd february 2019, Film night: Transit Levantkade by Rosemarie Blank. 1991 | 82 minutes | In Dutch with English subtitles. Doors: 20:00, Film 20:30
This creative documentary captures, in a way, the end of Amsterdam’s wild three decade run of alternative culture. The Berlin wall has fallen, the east-block is no longer a viable possibility, and everything slides into the American de-regulated free-market ideology – and that means that everything that doesn’t make a profit has to be stamped out. Here in Amsterdam that change was more extreme and painful than most other places, simply because Amsterdam was so different than anywhere else.
The Levantekade in Amsterdam’s east harbor was one of the last large-scale alternative spaces to be destroyed. It was a place anyone who didn’t have money could go, a sort of no-man’s land where people could live and create freely. It was a place for those who didn’t fit in. It was a place for the homeless, emigrants and artists and they both created and lived their own alternative culture. Sure, it was rough to live there, but it could also be beautiful for those who valued freedom and had their own vision. This film documents these ‘urban Indians’ and charts the last days before the police came in to remove everyone for the bulldozers. In an act of ritualistic defiance some chose to set fire to their self-made homes, their own creations, rather than leave them to be destroyed by a wrecking-ball. Rosemarie Blank’s film is composed of flickering grainy black and white images which have a rough poetry about them. They depict a dark shadow that is overtaking this playground of the imagination. The mood is a haunting death fugue, and soon these people and the refuge they created, would soon be written off as road-kill for the gentrification and financialization of the city. This film, which digs deep into Amsterdam’s past, is more than anything else an ode to a special way of living… and is especially crucial to see today when even the ADM, leagues outside the city, isn’t allowed to exist as a free space.
Film night at Joe’s Garage, cozy cinema! Free entrance. You want to play a movie, let us know: joe [at] squat [dot] net
Palestinian Film: Chronicle of Disappearance (Elia Suleiman, 1996)
Sunday 23 December 2018, Palestinian Film: Chronicle of Disappearance (Elia Suleiman, 1996). 88 minutes. In Arabic with English subtitles. Doors open at 20:00, Film starts 20:30.
After spending more than a decade in New York, Palestinian director Elia Suleiman returned to his homeland in 1992 to make his first feature film. Chronicle of a Disappearance is an extended meditation of the contemporary life of Palestinians in “the Holy Land.” Elders recount absurdly funny tales and jokes; Russian emigres talk about tourism’s ravaging of the country; tourists pontificate about Israeli politics; and a young Palestinian actress struggles to find an apartment, while Suleiman, himself a character, tries to figure out what kind of film he should make. Suleiman weaves these narratives together with extraordinary irony and grace.
Film night at Joe’s Garage, cozy cinema! Free entrance. You want to play a movie, let us know: joe [at] squat [dot] net
Black Cat Cine presents: Moderne Tijden (Chaplin, 1936)
Sunday 16 december 2018, Black Cat Cine presents: Moderne Tijden (Chaplin, 1936). Doors open at 20:00, Film starts 20:30.
This movie is all about fighting the system, falling down and getting up again. Called Chaplin’s last silent movie even though sound, vocal, and musical effects are used throughout. Brilliant slapstick with a strong message still valid in the present.
Film night at Joe’s Garage, cozy cinema! Free entrance. You want to play a movie, let us know: joe [at] squat [dot] net
Benefit for Ateneu Anarquista de Rubi
Thursday 13 December 2018, Benefit for Ateneu Anarquista de Rubi, Volkseten Vegazulu, 7pm.
The antiauthority kitchen group Ajo Negro is cooking in Joe’s Garage. The benefit will go to the Ateneu anarquista de Rubí, Catalonia, to support them in the renovations from the social centre. Ateneu Anarquista la Hidra https://ateneuanarquistalahidra.wordpress.com/
Volkseten Vegazulu is a people’s kitchen, every monday and thursday, all year long. We are remaining closed if no one is volunteering to cook. Keep an eye on this radar page to make sure we are open. Door opens at 7pm. Vegan food for 4€ or donation. All benefits go for social & political struggles. No reservation.
Have you ever considered cooking at Joe’s Garage with your friends? We’re always looking for cooks. Any help is welcome in the kitchen. Experience not required. Enjoying it is a must. If you want to know which days are still available in the schedule, send an email to joe [at] squat [dot] net and book yourself the night. You can, of course, also participate by rolling up your sleeves and doing the dishes.
Can Dialectics Break Bricks Cinema: Au Hasard, Balthazar (Robert Bresson, 1966)
Sunday 9 december 2018, Can Dialectics Break Bricks Cinema. Doors open at 20:00, Film starts 20:30.
AU HASARD BALTHAZAR, directed by Robert Bresson, 1966. 99 minutes. In French with English subtitles.
“Everyone who sees this film will be absolutely astonished, because this film is really the world in an hour and a half.” – Jean-Luc Godard
And indeed Jean-Luc Godard was so in love with this film that he later married its main actress Anne Wiazemsky! A transcendental masterpiece from one of the most distinct filmmakers in the history of French cinema, Robert Bresson’s Au hasard Balthazar follows the long and winding tale of a much-abused donkey, Balthazar, whose life strangely parallels that of his owner, Marie (Anne Wiazemsky). A beast of burden suffering from the sins of man, we watch as the donkey is passed from the hands of one cruel owner to another. Because the movie is so stripped down, it becomes universal and almost archetypal with the donkey symbolizing so much of the suffering in this world.
You won’t find any cheap tricks that you normally come across in a Hollywood flick here. Bresson is able to design a sense of compassion that is free of sentimentality. He achieves this balance through, of all things, Russian cinema experiments of the 1920s by Lev Kuleshov. The end effect works differently on different people, but for many it is nothing short of cathartic. There is such a strange mixture of feelings and thoughts that one goes through while watching a film like this. I guess for me the film is about maintaining innocence in a ruthless and uncaring world. The entire film is set to a precisely edited soundtrack composed of nature sounds, narrative sound-cues, French rock and a Schubert piano sonata. Many female artists were somehow touched by this film, including Chantal Akerman and Patti Smith. It also features the writer/artist Pierre Klossowski in a rare acting role.
This will be a high-definition screening.
Film night at Joe’s Garage, cozy cinema! Free entrance. You want to play a movie, let us know: joe [at] squat [dot] net
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