Béatrice Cordua

Filmler4

• Film6.0

  Dram

  Far away from the big city, Janine is unwelcome, yet an eye-catcher: a sensual, queer subject of projection with wine-red hair. Jan Eilhardt travels with her to engage with his own rural past, opening old wounds and infiltrating a hostile milieu.

  Janine zieht aufs Land

  Janine Moves to the Country

  2025 · 1 votes

• Film9.0

  Trixi is Dwoskin’s most convulsive version of his recurrent theme: the confrontation of a solitary girl with the camera. Shot in one continuous 8-hour session. Trixi records Beatrice Cordua’s responses to the situation, from initial shyness, fear and withdrawal through teasing and posturing to naked surrender and final exhaustion …. The camera is highly mobile; often confronting the girl in extreme close-ups, sometimes swooping down from overhead, sometimes searching to “recapture” her …. The camera itself is the object of erotic desire, [in] the sense of giving a performance shifting imperceptibly in a helpless self-exposure in response to its constant stare. Clearly, the form of the film was dictated by the response of the performer. Beatrice Cordua proves Dwoskin’s most expressive subject to date, and the film is correspondingly “open,” the camera having been willing to choose its tactics as direct responses.

  Trixi

  1969 · 2 votes

• Film4.6

  Dram

  'The Silent Cry is a fictionalised narrative film, based on documentary facts and extracts of one English girl's memories and thoughts, all surrounded, and directed towards her particular dilemma. This dilemma can be summarized as her basic inability to have relationships, especially sustained relationships, and particularly with men. This is the total of her statement and the film. The construction and flow of the film follows the way she thinks - it is her point of view that is followed in the film. So all things are the way she remembers and dwells on them, and which are important to her.' - S.D.

  The Silent Cry

  1977 · 7 votes

• Film

  Face I und II

  1968