Adrian Maben

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Mode d’Emploi, Les Nouveaux Réalistes
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Filmed in the 1970s with the art critic Otto Hahn, this film is the only visual document which brings together the thirteen Nouveaux Réalistes who participated in the artistic movement created by critic Pierre Restany in 1960 and including the text of the declaration collective was signed by Yves Klein in nine copies. Each of the artists appropriates a piece of land from the civilization of waste: from Arman the accumulations, from César the compressions of scrap metal, from Jean Tinguely the rusty machines, from Ramond Hains the torn posters.
Helmut Newton: Frames from the Edge
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Filmed in the 1970s with the art critic Otto Hahn, this film is the only visual document which brings together the thirteen Nouveaux Réalistes who participated in the artistic movement created by critic Pierre Restany in 1960 and including the text of the declaration collective was signed by Yves Klein in nine copies. Each of the artists appropriates a piece of land from the civilization of waste: from Arman the accumulations, from César the compressions of scrap metal, from Jean Tinguely the rusty machines, from Ramond Hains the torn posters.
Documentary
Comrade Duch: The Bookkeeper of Death
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On 28 February 2009 Kaing Guek Eav, alias Duch, appeared in the ECCC courtroom and made a two-hour speech where he asked for forgiveness for the appalling torture and execution of at least 13,000 prisoners at Tuol Sleng and probably more in the security camps of M-13 and M-99. Until this date, with the exception of a handful of judges, lawyers and a priest, he had not been seen or heard of for the last thirty years. How did a man, known to be kind and generous to fellow students, possibly transform himself into Comrade Duch, the Khmer Rouge's infamous executioner? This documentary revisits and searches for clues. (Storyville)
Documentary
Paul Delvaux: The Sleepwalker of Saint Idesbald
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Until his death in 1994, the twentiethcentury master Paul Delvaux was the last surviving member of the first generation of surrealist painters. In this portrait, he reminisces about his family, himself, his art and the various phases of his career. He explains that all his visual ideas are derived from childhood memories and the film shows the way in which these scenes have been incorporated into his work. The painter is seen as a young man (the earliest footage dates from 1945) and the film includes some unique shots of the extraordinary Musée Spitzner.
Documentary