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Movie screenings - Fake For Real

Typ av evenemang: 
Filmer
Event Category: 
Our Events
Publik: 
Vuxna , Unga vuxna
Evenemangsspråk: 
English

The House of European History invites you to a series of online screenings linked to our temporary exhibition Fake For Real – A History of forgery and falsification.

From faked identities to art forgeries and state lies, the film series delves into themes from the exhibition, through a variety of genres, periods and countries. The diverse programme explores how cinema questions and plays with truth and authenticity, deception and manipulation.

Each film will be contextualised and commented on by film curator Anke Brouwers, who will highlight the significance of the film in cinematographic history and connect it to the exhibition. Anke will invite a special guest to each screening for a discussion that will provide insights into the making of the movie and its significance to the issue of fakes and forgeries.

All movies are broadcast in their original language with English subtitles.

19.00               Introduction

19.15               Movie screening

+/- 20.45         Discussion with guest expert

21.15               End

These events are upon registration, with limited places available.

PROGRAMME 

 

Czech Dream (Vit Klusak, Filip Remunda, Czech Republic, 2004)

Czech Dream is an original documentary about a large-scale hoax instigated by the film’s directors, who were still film students at FOMU while they were making the film. With television adds, radio spots, branding, make-overs, they promoted a fictional new hypermarket (‘Czech Dream’) that was clearly too good to be true. Still, the impossibly low prices and sentimental advertising managed to seduce a large public. The film is framed in the historical context of the Czech Republic’s post-communist growing pains and the impending referendum about a European constitution and offers a comment on both issues. Czech Dream exposes the gullibility of the masses and the power of capitalist fantasies, but flirts with ethical boundaries: is a documentary filmmaker allowed to trick or manipulate the world he is trying to capture?

 

F For Fake (Orson Welles, France, Iran, Germany, 1975)

F For Fake is a quasi-documentary about art forgery and the tenuous lines between reality and fiction, truth and deception. Orson Welles bedazzles and seduces his audience with his storytelling flair and introduces us to various tricksters, forgers and fakers. The films starts out as a portrait of famous art forger Elmyr de Hory and his shadowy biographer Clifford Irving, but gradually other strange characters, including Welles himself, become part of the plot. A mix of archival footage, interviews, personal revelations and ostensibly ‘chance’ encounters make up this fascinating, duplicitous film. A magic trick and a classic.

 

Corpus Christi (Jan Komasa 2019)

A young, charismatic priest (Bartosz Bielenia) arrives in a quiet, traumatised Polish village. Before long, his engaging presence helps the members of the parish to find solace and a renewed optimism in life. The only trouble is that the inspiring priest is not actually a priest but an impostor with a delinquent past. Decisively shot in a stark, sombre colour palette, with few compositional frills and strong, assured performances, this Oscar-nominated film questions notions of truth, faith, deception and identity. The film is loosely based on real-life events.

 

Great Communist Bank Robbery (Alexandru Solomon, Romania, 2004)

In 1959 the Romanian National Bank was robbed. Romania’s embarrassed and perturbed government demanded a swift response and within two months six people were arrested and charged with the crime. Outrageously, the six accused were then asked (or forced) to play themselves in a fictionalized account of the crime. The ensuing 1960 film, Reconstruction, was directed by the secret police and was propagandist and cautionary in nature. The Great Communist Bank Robbery looks back at the strange and unresolved circumstances of the robbery, scrutinizes the questionable investigation (revealing a disturbing anti-semitic motive) and includes some footage of the re-enacted film. It is an attempt to lay bare the obvious governmental lies and manipulations and aims to come closer to the truth.

 

Battle of the Somme (1917) and silent shorts from the early days of cinema (1895-1900)

Film scholar Miriam Hansen explains that ‘Many actualities (films depicting actual events) involved reconstructions, yet not with the intent to deceive.’ Most of the time, audiences were aware that they were watching a reconstruction, a visualization of a particular event. ‘Sensationalist appeal joined to a historical reference helped construct the reenactment’s legitimacy in representing ‘actual’ events.’ This short program will show films that purportedly show reality (or a reality) but which are either reconstructions or staged events. Once a camera is put in place the reality of the depicted scene is debatable.

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The House of European History has received the Brussels Health Safety Label for the new measures implemented in the museum since the reopening.

Brussels Health Safety Label