Faces pass by in quickly edited, split-screen recordings. A 'structuralist' film in which the film material itself plays an important role. Grain, scratches and flickering give the film texture. The music is by Steve Reich.
A man and a woman sit in front of a window and eat breakfast. Through the window, we see the countryside. During the day, they remain seated at the table. The settings, light, and depth of field change: slowly we learn the vocabulary of the medium. In the final shots, the camera is reflected in...
Shots of a street filmed from a swing. An additional shutter has been mounted in front of the camera, creating a pulsating flicker effect. This causes the image to be interrupted and divided thirty times per second.
For After the Colours, Mattijn Seip filmed abstract collages of strips. The first part of the film consists of footage shot by using rotating objects that were located between the camera and the collage. The image is thus split, causing a hypnotic effect. The second part of the film consists of a...
Photos and film footage are edited, damaged, scratched, and painted. The original images are only vaguely recognizable, as if they are already part of our ‘tainted’ memory. The film was made in response to the death of Janis Joplin.
Abstract colour compositions in yellow, red, and blue, created using an optical printer, are assembled layer by layer. To accomplish this, the filmmaker used film footage that he had already processed, scratched, and painted. Seip was trying to create an effect of depth in his film; this sense is...
A Young man is interested in the girl next door, but also discovers that he is not insensitive to a boy, with whom he has dress-up parties in the attic and plays in an old bunker in the dunes.
A film about the beauty of impermanence and about everything that people throw away. A mix of recognizable images from reality and abstract images, which have been painted or made using colour filters.
