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DraMAYAma A Space-Time-Travel
A film by Jeanette Groenendaal |
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Expected Release Autumn 2020
Director Jeanette Groenendaal Script, Camera & Sound Jeanette Groenendaal Starring Branly López Quemé Co-script Branly López Quemé en Sharanya Manivannan Editing Zoot Derks and Jeanette Groenendaal Composers Stephanie Pan and Stelios Manousakis Color correction Jeroen Weeda Sound Post Warning Studios Post production assistent Zilfer de Boer Graphic design Zilfer de Boer Subtitles Zoot Derks Translation Branly López Quemé Production G-Network-Film Foundation Co-Production Ted Baijings With the Support off Netherlands Film Foundation |
Filmmaker Jeanette Groenendaal (Director of ‘Dutch Cocaine Factory’ and ‘Reformation’) uses a documentary method to take us on a Space Time Travel with her new movie DraMAYAma. A journey through the past, present and future, along rituals for the Planets of our Solar System in the Ancient Dravidian Temples in the Vedic South of India.
Through the eyes of TimeKeeper Branly Gio Lopez from Guatemala, the audience experiences the journey in a religious exclusive space where tourists hardly enter. The movie is shot in 4K, with a small camera or the phone, without a crew.
Ever since the end of the Mayan calendar, Branly is on a Vision Quest on the nature and meaning of the Mayan Cosmology, but finds that in Guatemala, after 500 year Colonisation, the Mayan rituals were mainly banned as witchcraft.
In the movie we follow Branly in a space time travel through a poetic, emotional experience in which he recognises his roots in the echo of the past in an old civilisation. Meanwhile the volcano erupts, the tempel elephant dies and the turtle breaths homewards.’
The languages spoken in the movie are Spanish, English, Mayan, Tamil and Sanskrit.
Subtitles are available in English, Spanish and Hindi.
A modest budget project with contribution of, G-network-Film Foundation, Foundation Baijings and the Dutch Filmfoundation.
Through the eyes of TimeKeeper Branly Gio Lopez from Guatemala, the audience experiences the journey in a religious exclusive space where tourists hardly enter. The movie is shot in 4K, with a small camera or the phone, without a crew.
Ever since the end of the Mayan calendar, Branly is on a Vision Quest on the nature and meaning of the Mayan Cosmology, but finds that in Guatemala, after 500 year Colonisation, the Mayan rituals were mainly banned as witchcraft.
In the movie we follow Branly in a space time travel through a poetic, emotional experience in which he recognises his roots in the echo of the past in an old civilisation. Meanwhile the volcano erupts, the tempel elephant dies and the turtle breaths homewards.’
The languages spoken in the movie are Spanish, English, Mayan, Tamil and Sanskrit.
Subtitles are available in English, Spanish and Hindi.
A modest budget project with contribution of, G-network-Film Foundation, Foundation Baijings and the Dutch Filmfoundation.
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Ik weet wie ik ben Video Geheugen voor Alice Fuldauer
Een film van Jeanette Groenendaal |
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Expected Release Autumn 2020
Director Jeanette Groenendaal Script, Camera & Sound Jeanette Groenendaal Starring Alice Fuldauer Editing Zoot Derks and Jeanette Groenendaal Color correction Jeroen Weeda Sound Post Warning Studios Post production assistent Zilfer de Boer Graphic design Zilfer de Boer Subtitles Zoot Derks Special Thanks to Doc Eye, Pieter van Huystee, Judith Fuldauer, Marion Bloem, Theo van Gogh, Tim Krabbé Production G-Network-Film Foundation With the Support off Judith en Jan Dirk den Hollander, Frank van Reemst, Stichting Baijings, G-Netwerk |
Alice Fuldauer is 55 jaar, journalist en schrijfster. Ze publiceerde voor Vrij Nederland, Nieuwe Revue, Elle, Opzij, De Tijd en NRC Handelsblad. Van haar hand verscheen het veelbesproken boek Fatale Liefde, dat ook in Duitsland uitkwam: veertien indringende portretten van mannen en vrouwen die hun partner doodden of daartoe een poging deden. Een aantal verfilmde ze in de documentairereeks Het liefdesdelict, dat hoge kijkcijfers haalde. Ze schreef de verhalenbundel Huwelijkse Voorwaarden en ander Ongerief, achttien zwart-humoristische verhalen over de nachtzijde van ons liefdes‐ en familieleven. In haar bloemlezing Gevaarlijke Vrouwen verzamelde ze twintig schitterende verhalen uit de wereldliteratuur over vamps, feeksen en femmes fatales. In 2007 verscheen haar nieuwste boek Hoe overleef ik de zorg?
Alice Fuldauer beschouwt de documentaire als een uitdaging om nog iets te doen te hebben en niet weg te kwijnen in het tehuis. De gedachte aan de documentaire prikkelt haar geest en ze probeert dan ook doorwrocht en oprecht hierover na te denken. Wat kan ik de mensen hierover laten weten dat ze helpen kan? Ik heb het gevoel dat de film inzet als haar intellectuele wapen tegen haar onvermogen om te accepteren dat ze daar zit.
Deze documentaire wil een beeld geven over de implicaties van Alzheimer op het leven van een jong mens met een sterke geest die in een bejaarden verzorgingstehuis moet worden opgenomen. Over intellect en het verlies daarvan. Over de kafkaiaanse situatie als je literair bewust bent en 55 jaar, en opgesloten wordt in een tehuis met demente bejaarden, over het proces van een geestelijke aftakeling die desalniettemin poëtisch ontroerend en bezield kan zijn.
Alice Fuldauer beschouwt de documentaire als een uitdaging om nog iets te doen te hebben en niet weg te kwijnen in het tehuis. De gedachte aan de documentaire prikkelt haar geest en ze probeert dan ook doorwrocht en oprecht hierover na te denken. Wat kan ik de mensen hierover laten weten dat ze helpen kan? Ik heb het gevoel dat de film inzet als haar intellectuele wapen tegen haar onvermogen om te accepteren dat ze daar zit.
Deze documentaire wil een beeld geven over de implicaties van Alzheimer op het leven van een jong mens met een sterke geest die in een bejaarden verzorgingstehuis moet worden opgenomen. Over intellect en het verlies daarvan. Over de kafkaiaanse situatie als je literair bewust bent en 55 jaar, en opgesloten wordt in een tehuis met demente bejaarden, over het proces van een geestelijke aftakeling die desalniettemin poëtisch ontroerend en bezield kan zijn.
Untitled a Theatrical Video Research
A film by Samira Elagoz
A film by Samira Elagoz
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Expected Release Autumn 2021
Director Samira Elagoz Script, Camera & Sound Samira Elagoz Starring CADE and SAM Editing Samira Elagoz Advisor Jeanette Groenendaal Color correction Jeroen Weeda Sound Post Warning Studios Post production assistent Zilfer de Boer Subtitles Zoot Derks Production G-Network-Film Foundation |
Sex doesn’t exist, it is a historical fiction
Two test rats in their own laboratory, living life as a performance or a movie. Similar, incompatible, dysfunctional.
Two test rats in their own laboratory, living life as a performance or a movie. Similar, incompatible, dysfunctional.
I am not Afraid of Beauty Experimental Movie
by Janja Rakus
by Janja Rakus
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Expected Release Spring 2022
Director Janja Rakus Script Janja Rakus Editing Janja Rakus Advisor Jeanette Groenendaal Production G-Network-Film Foundation |
Book: Voodoo Waltz for Epileptics by Janja Rakus
As can be glimpsed from the subtitle, Hypergraphic Pilgrimage in 36 Hours, voodoo waltz for epileptics is a conceptual literary work. It is a multi-layered cross-section of transgressive, satirical minimalism and alchemical distillation of a word. The (in)visible thread that binds the whole text into a unified novel is the question of radical freedom revealed through epileptic seizures. In the work, epilepsy is sketched out as the transparency of being, and is examined as a medicinal, historical and artistic phenomenon; even as an excess. And, of course, as a borderline condition of the human existence. Voodoo Waltz is also, and primarily, a story about four epileptics whose fateful encounter brings about the end of the Old World and the birth of a New One. Chapters are linked with what the author calls hypergraphic images or multiplicities of a digital Self, which the author drew herself using a computer mouse.
Film I am not afraid of Beauty is based on my last book Voodoo Waltz for Epileptics, Voo- doo Waltz is also about inventing and creating, designing and redesigning of human beings and of what they have in common, And that is spirit. It’s not insane, it is written in an insane world, however, inside this world, inside the neoliberal insanity, in a time Bauman named liquid, it can be read as an on-line-diary or guideline through iOccupy. It is a mythological and sacral text and linguistic erotism with a drop of noir. A panoply of images and text are lying some- where between lineated and concrete poetry, shaped with pictograms and strings of URL-s.
One of the key-interests in the film is to experiment with narrative, pushing to its limits, disinte- grating and subverting it,
yet it remains present.
As can be glimpsed from the subtitle, Hypergraphic Pilgrimage in 36 Hours, voodoo waltz for epileptics is a conceptual literary work. It is a multi-layered cross-section of transgressive, satirical minimalism and alchemical distillation of a word. The (in)visible thread that binds the whole text into a unified novel is the question of radical freedom revealed through epileptic seizures. In the work, epilepsy is sketched out as the transparency of being, and is examined as a medicinal, historical and artistic phenomenon; even as an excess. And, of course, as a borderline condition of the human existence. Voodoo Waltz is also, and primarily, a story about four epileptics whose fateful encounter brings about the end of the Old World and the birth of a New One. Chapters are linked with what the author calls hypergraphic images or multiplicities of a digital Self, which the author drew herself using a computer mouse.
Film I am not afraid of Beauty is based on my last book Voodoo Waltz for Epileptics, Voo- doo Waltz is also about inventing and creating, designing and redesigning of human beings and of what they have in common, And that is spirit. It’s not insane, it is written in an insane world, however, inside this world, inside the neoliberal insanity, in a time Bauman named liquid, it can be read as an on-line-diary or guideline through iOccupy. It is a mythological and sacral text and linguistic erotism with a drop of noir. A panoply of images and text are lying some- where between lineated and concrete poetry, shaped with pictograms and strings of URL-s.
One of the key-interests in the film is to experiment with narrative, pushing to its limits, disinte- grating and subverting it,
yet it remains present.
G-Network-Film Foundation
Prinseneiland 321
1013 LP Amsterdam
Tel: 06-247 237 65
Email: g-netwerk@gmail.com
RSIN 859890119
Datum van oprichting 27 03 2019
KVK: 74419625
G-Network-Film Foundation heeft een Culturele ANBI status
Prinseneiland 321
1013 LP Amsterdam
Tel: 06-247 237 65
Email: g-netwerk@gmail.com
RSIN 859890119
Datum van oprichting 27 03 2019
KVK: 74419625
G-Network-Film Foundation heeft een Culturele ANBI status