Winner of five major awards, including the Golden Calf at the Netherlands Film Festival and the Rembrandt award for Best Film, Little Sister is an audacious film that solidified Robert Jan Westdijk as a major talent. Westdijk masterfully uses a home video aesthetic to create a quietly terrifying, yet often funny, depiction of a brother-sister relationship troubled by a deep, buried secret. On her 20th birthday, brother Martijn (Romijn Conen) suddenly reunites with his sister, Daantje (Kim van Kooten). With video camera in hand, he tapes her every move, subsequently sabotaging her relationship with her close friends. Little Sister is a perfect example of intimate cinema, where the filmmaking style and the content of the story work together to give us an emotionally real and visually satisfying experience. In Dutch with English subtitles.

Robert Jan Westdijk---Netherlands---1996---91 mins.


Water Is Wet is an astonishing film experiment which visually evokes water to connect children to their feelings, awaken their imaginations and spark their creativity. It was the first of four short films directed by documentary pioneer Gordon Weisenborn. The films were produced by the Erikson Institute for Early Childhood Education and today remain a landmark of instinctual filmmaking for young audiences. Now rediscovered, three of the four films are presented in new high-definition restorations: Sit Down, Where Does My Street Go? and Water Is Wet, together with the fourth, unrestored film, If I Were an Animal. Shot all around Chicago and using a mixture of folk songs, classroom activities, and staged vignettes, these films by Gordon Weisenborn capture a spirit of optimism that strives for a world where all children have equal opportunity. To help children see and experience new things in their immediate surroundings, the four episodes in the series were designed to stimulate imagination, curiosity, and active play.

Gordon Weisenborn---USA---1969-1970---80 mins.

This essay film from renowned filmmaker and media theorist Harun Farocki meditates on the rhetoric of film and video editing. Using clips from his past documentary work, Farocki explores the relationship between the editor and the images he or she manipulates. Interface becomes essential to our understanding of contemporary audio-visual culture by highlighting the implications of the video editor’s work. Derived from an installation commissioned by the Lille Museum of Modern Art, Interface employs a unique dual-screen composition that mimics the editing table and offers a new understanding of visual language. In Interface, the editor – whose work has become essential to the Information Age – becomes a powerful figure with a strong ethical relationship to the images, sounds, and, eventually, ideology that they help produce. In German with English subtitles.

Harun Farocki---Germany---1995---25 mins.