Work in Progress

The Films of Johan van der Keuken

26.02.2025
A COLLECTION OF 5 texts, 62 film pages, 2 events, 3 dossiers, 1 news item
EN

Johan van der Keuken (1938-2001) was a Dutch filmmaker, photographer, and author. At the age of seventeen, he already made a name for himself with Wij zijn 17 (1955), a photo book of portraits of peers. A year later, he entered the Paris film school IDHEC, where he discovered a growing passion for filmmaking. As a filmmaker, he broke through with experimental documentaries such as Blind kind (1964) and the North-South trilogy (Dagboek, Het witte kasteel, en De nieuwe ijstijd, 1972-1974) in which he depicted increasing global inequality. He made more than fifty films. Other notable films include Vakantie van de filmer [The Filmmaker’s Holiday] (1974), Het oog boven de put [The Eye Above the Well] (1988), and his acclaimed Amsterdam Global Village (1996). 

Van der Keuken’s cinema lives off the tension between ethics and aesthetics, between a radical commitment to the world and a distinct attention to form. A documentary filmmaker, Van der Keuken said, can never pretend to represent reality. “For me, the material side of film comes first: a beam of light on a screen. And what is transmitted in that bombardment of light on a screen is always fiction.” Influenced by painting, he always calls attention to the matter of the medium itself through the conscious use of light, colour, and texture and a rhythmic, musical montage.

But at the same time, Van der Keuken, who playfully conceived of the camera as an extension of his body, opposed the idea that filmmakers stand outside the world they try to depict. The filmmaker stands radically in the world, looking through their lens, framing reality. He always kept one eye on the surrounding world while the other peered through the camera’s viewfinder. In ‘Meanders’, a text from 1995, he described the driving force of his cinema: “I remain a materialist filmmaker: the world exists outside us, and our dream collides with it. The work of cinema is this relationship between the two: work in progress, always.”

This collection provides an overview of the available English-language texts on Sabzian about the work of Johan van der Keuken, as well as a complete multilingual annotated filmography. Van der Keuken was also a gifted writer on cinema, an activity through which he shaped his practice. Sabzian previously also published the Issue ‘Between Head and Hands’, featuring Van der Keuken’s writings. Meanders, a new trilingual booklet containing the Dutch filmmaker’s text of the same name, is available for purchase on our website.1

  • 1From October 2024 until February 2025, Sabzian and CINEMATEK organized a complete retrospective of the work of Johan van der Keuken, in two parts.

Texts

Mark-Paul Meyer, 2013
ARTICLE
12.02.2025
NL EN

Johan van der Keuken was a photographer and a filmmaker. As a filmmaker he operated the camera himself. The world around him, reality, was his subject. He stood out as a photographer and as a filmmaker because he confronted reality in a very personal way, distinguished by the fact that he did not see it as something that lay outside himself. How to say something about reality without reducing it to something with only one meaning. Johan van der Keuken did not want to tell us about reality – he wanted to let reality speak for itself.

Gerard-Jan Claes, 2013
ARTICLE
14.12.2013
NL EN

The juxtaposition of images shows a spiritual coherence to which we as viewers must work towards. In De poes [The Cat] (1968) van der Keuken articulates it thus: “The film could be a means for change. To this end it must affect the fixed patterns of expectation. To this end it must create a dynamic balance of the forms in which our reality can be described. Art could be a means by which to set man free. A school for seeing the self and the other more clearly.”

Luc Dardenne, 1982
ARTICLE
18.12.2024
NL FR EN

The genesis of Seeing in Johan van der Keuken’s films does not take the form of the disappearance or erasure of the filmmaker’s gaze, of his image-cutting subjectivity, in favour of a reality that by itself would allow itself to be seen. On the contrary, the mediation, the work of this gaze is constantly claimed, ostensibly designated: it is only because I assume my view of this thing as a singular perspective, that it is vulnerable, open to what is outside its frame, that it can be hollowed out by the gaze of these things that it does not see but which see it and require its (physical) displacement, its rotation, for it to see them.

Jacqueline Aubenas, Michel Khleifi, Serge Meurant, Johan van der Keuken, 1982
CONVERSATION
17.03.2021
FR EN

“Yes, from a filmmaker’s point of view, we wanted to look for images other than those brought back by television crews every time there’s a political event in the occupied territories (manifestations, strikes, riots, etc.). We actually believe that these images make us forget the essence: the sense of the struggle of these people. The informative television images are images of ‘effects’, and we are looking for images of ‘causes’.”

The Flat Jungle (Johan van der Keuken, 1978)

Gerard-Jan Claes, 2025
ONE DAY, A FILM
26.02.2025
NL EN

More and more, there is laughing in the cinema regardless of the type of film – whether a Holocaust drama, a violent film noir, or an essayistic documentary. Recently, at CINEMATEK, I noticed that Johan van der Keuken’s The Flat Jungle (1978), a documentary about the Wadden Islands and their inhabitants, drew out a varied repertoire of bemusement: chuckles, snickers, giggles, and, at times, a faintly suppressed derisive laugh.

Film pages

Events

Dossiers

News Item

index