“Blue” is de laatste film van Britse kunstenaar Derek Jarman. De film vormt een indrukwekkend testament waarin enkel de kleur blauw te zien is. Die monochrome gloed van het geprojecteerde beeld refereert niet alleen aan het tanende gezichtsvermogen van de kunstenaar, maar betekent ook een hommage van Jarman aan de schilder Yves Klein.

Blue

23/06 20:30 Surfclub Oostende

25 jaar geleden wordt “Blue” voor de eerste keer vertoond. Om dit te vieren, laat Monokino de klanken van de soundtrack door enkele luidsprekers over het strand van Oostende klinken. De zee figureert daarbij als het perfecte vervangbeeld voor het ontbrekende blauw van Derek Jarman. Terwijl het publiek luistert naar het verhaal van “Blue”, projecteert het eigen beelden, eigen figuren op de onophoudelijk transformerende horizon.

In de prachtige soundtrack van Simon Fisher-Turner horen we onder meer koorzang, tikkende klokken, klepels en gongs, maar duiken ook fragmenten van Brian Eno, Coil of Erik Satie op. De stemmen van Tilda Swinton, Nigel Terry en Derek Jarman vertellen ons over leven, liefde, ziekte, de zin van kunst en vooral: de symboliek van de kleur blauw. Een film zonder beelden die ons dieper leert kijken.

In samenwerking met Klein Verhaal en Radio Roeien met Riemen.

The sea is Monokino’s favourite projection surface for images, stories and histories. In anticipation of our next screening, we’ve started to collect a list of films in which the sea plays a main or supporting role. Can you think of a film that’s not already on our list? We’d love to hear about it via Facebook or Instagram.

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TEAM — Anouk De Clercq, Baptist Everaert, Chloë Delanghe, Dagmar Dirkx, David Slotema, Eric de Kuyper, Erien Withouck, Eva Claus, Godart Bakkers, Jana Coorevits, June Laka, Rebecca Jane Arthur, Quinten Wyns, Ynne De Wever.
Graphic design: Michaël Bussaer. Webdesign: Dominique Callewaert.

With the support of Auguste Orts, CINEMATEK, KAAP, KASK School of Arts Gent, Onderzoeksfonds Universiteit Gent, MOOOV, Vlaams Audiovisueel Fonds.

Whoever walks in Ostend today is confronted with a fantastic eclecticism: a brutal grey apartment block exists next to the glorious Thermae Palace. The mighty, almost Stalinist, building of De Grote Post dominates the Hendrik Serruyslaan. A former department store houses a museum for contemporary art. Belle-époque houses are hidden in the quiet but stately streets.

In 2017, one void struck artist Anouk De Clercq: that glorious film culture of Henri Storck, James Ensor or Raoul Servais had disappeared from the streets. With the closure of the Rialto cinema, the last independent cinema from the Ostend cinema circuit also disappeared. Against such an extraordinary backdrop, with the sea as a large projection surface for images, stories and histories, that is such a shame.

And so the idea of Monokino ripens: one room, marked by an equally fantastic eclecticism, where cinema can be itself again. One room where long and short films, film classics, auteur cinema, video art, experimental films, animation, or the work of young makers can find a place. Monokino shows, questions, responds, engages in conversation, invites, welcomes, puts in perspective. Monokino is a place of, by and for people from Ostend, for professionals and enthusiasts, for young and old, for those from here and those from there.

The films that Monokino wants to show don’t only live on the screen. They also spread between residents, spectators, and makers. In that sense, Monokino is also Kopfkino: a mental cinema, where images get the chance to live and multiply.

That’s how Monokino drifts nomadically through those eclectic streets of Ostend and settles in the heads and hearts of the people of Ostend. Soon it’ll moor for good.

Monokino wants to drive cinema into the 21st century and illuminate the adventurous side of film. While we strive for a permanent place as anchorage for cinefiles from Ostend and beyond, Monokino operates as a nomadic film platform.