Four short fictionfilms about an older woman and a younger man, each starring the same two actors, screened simultaneously in the exhibition space. 


Film installation over 4 screens, 4x short fiction film, with Joes Brauers and Cherise Silvestri, DoP Jurgen Lisse, total runtime 60 minutes, the Netherlands, 2022, All rights reserved

ivory 2
ivory 4
ivory 3
ivory 5
ivory 6
ivory 8
ivory 10
ivory 9
ivory 11
ivory 12
ivory 13
ivory 14
ivory 15

The Young Man as a Movie Star (Paranoia, Opulence, Perversion, Competition) is a film installation comprised of four narrative short films. The films are screened simultaneously in the exhibition space, on four separate screens with separate audio.


Each film depicts a variation on a troubled relationship between a young man (20) and a mature woman (50), played each time by the same two actors, and shot in the same location.


Each film is inspired by the oeuvre of a 20th century male film director, for whom female-male relations form an important pillar in their work (Godard, Hitchcock, Spielberg and Von Trier).

The films are shot in a specific style, with a distinct narrative, tone and score–while across the screens, the characters gestures, their viewpoints and the situations they are in, are adjusted to form a web of intersecting moments and cross-references, linking the films together.


Starting and ending at different times, the films loop to repeat the cycle of interconnections with each round, allowing the viewer to drift at will between the screens and come up with their own interpretation.


Paranoia, inspired by the oeuvre of Jean-Luc Godard, depicts a love affair between an older woman and a younger man, who spend an afternoon together. As the woman insinuates her husband might be spying on them, the young man becomes increasingly paranoid. In Opulence,   a short film-noir inspired by Alfred Hitchcock's work, the young man is a runaway terrorist, wearing a bomb-vest. He ends up on the porch of a manic housewife who has just murdered her husband- thereby offering her a cynical possibility for escape. In Perversion, shot in dramatic widescreen and inspired by the work of Steven Spielberg, a mother's frustration with the manner in which her son is coping with the death of his father, leads her to offer him weed and ecstasy until they both lose all control. In Competition, filmed with hand-held camerawork and inspired by the films of Lars von Trier, two colleague performers rehearse a dance piece on the beach. When the woman quits, to claim she is exploited by the (absent) choreographer- who also happens to be the young man's lover- and asks for the young man's solidarity-the resulting inner conflict leads the young man to seek relief in self-harm.


As much as it is an ode to cinema, the work proposes a form of echoing seriality, by the correspondence of imagery and dialogue over the four screens- an intended distraction for the viewer, as a way to break the principle of one dominant, central narrative presented on a singular screen. Channeled through melodramatic fiction and black humour, using and abusing the power of narrative structures over our way of making sense of the world, the work hints at the classic Freudian mechanisms underlying cinema. In order to challenge the traditional behavioural patterns of the 'young man',

it employs the 'older woman' as the messenger who–in her different configurations as a mother, a lover, a colleague and a housewife-thus travelling through the cinematic stereotypes traditionally assigned to her–works upon the young mans spirit, until he gets it: change is needed, and his interpretation of manhood might be a crucial factor in achieving this change. 


FULL  CREDITS






Candy                                         Cherise Silvestri

Bully                                            Joes Brauers

written and directed by            Bart Groenendaal

producer                                     Rogier Kramer

line producer                             Wilant Boekelman

production manager                 Laura Bouwmeester

production assistant                 Tessel Jonkers

                                                     Jetske Lieber

                                                     Hannah van Helden




first assistant director               Frieder Wallis

second assistant director          Renee de Graaff 

directors assistant                     Rosiario Cabred

choreographer                           Tomislav Feller


director of photography          Jurgen Lisse

focus puller                                Maric Dam

second assistant camera          Pauline Wiersma

gaffer                                          Danny Schoute

best boy                                      Erwin Smit

                                                    Joris van Gulik

                                                    Hidde Muskee

key grip                                     Bjorn Schumacher 

production sound mixer         Luuk Hoogstraten

art director                                Marieke van den Bosch

art assistant                               Elia Castino

art assistant                               Maartje Luiken

set dresser                                 Marnix Bloemberg

assistant set dresser                 Fien Lute

art runner                                  Duncan Eilander

graphic design                          Pernilla Phillips


costume designer                     Lotte Noordermeer

wardrobe                                   Koosje Janssen

                                                    Floortje Wijnands 

                      

make-up and hair                     Laura van Kolk

health and safety officer          Valerie Rutjes

                                                     Indy Kisoen

catering                                      Frank van  den  Berg 

                                                    Zoë van Broekhoven


editor                                         Bart Groenendaal

                                                    Elmer Leupen

composer                                  Stijn Hosman

sound design and mix            Jaim Sahuleka

postproduction facilities        Fever Film

                                                  Bart van den Broek        

                                                   Jessica Akkermans 

colorist                                      Joel Sahuleka

title design                               Haghefilm Digitaal

subtitling                                  Ronals van Biezen

office manager                         Romana Hrvatin

budget controller                     Peter Kersten

legal advisor                            Merel Teunissen

publicity advisor                     Petra van Horssen

                                                   Anne Kervers