Barbara Meter

a man with a moped and groups of boys (one in particular) are in conflict, which sometimes turns into erotic play.

Home movies shot on Super 8mm by W+B Hein over 10 years.

A young woman from Amsterdam decides to sell her one year old jeep on the street one day. A passer by on a bike helps her repair and charms her during this process. However, he shows no interest in buying the car.

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.

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 the windows, and we see lights being cleared away. The film itself, and not the man and woman at the table, has become the subject of the film.

The dutchified Hungarian Joszef Katús returns, after a months-long absence, to Amsterdam on 29 April 1966. The arrival of the Provos changed a great deal in the Dutch capital. The film follows Katús, mostly roaming the streets, in a loose documentary style. The events are set against the backdrop of four national occasions - The Queen's Birthday, Labour Day, Liberation Day and Remembrance Day.

A man and a woman converse wordlessly. An essential film dialogue. The accompanying sound was created by playing a chord from a Mahler symphony through two 'reel-to-reel' tape recorders and editing it.

A wordless experimental collage of impressions and moods. Grainy fragments of landscapes, flakes whirl in the wind. Fog and mist, shadows of people in the city and by the water… Silhouettes that fade and turn into pure light and shadow until we discern the specks and scratches on the film strip itself. Sometimes, for a fraction of a second, a face, a person. A film as a memory that eludes us.

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 by Barbara Meter

No synopsis available yet.

The constant movement of the wheels, threads, sprockets, feet and hands suggests restlessness, and this is paralleled by the soundtrack. The unknown woman could be Gretchen from Faust, hopelessly in love or Ariadne who gave Theseus the thread to find his way out of labyrinth or perhaps she is one of the fates, weaving destiny… Enlarged from Super-8 to 35mm, the film is very grainy, in itself an homage to the medium of film which is also emphasized by the depiction of all kinds of turning machines, both in image and sound.

The constant movement of the wheels, threads, sprockets, feet and hands suggests restlessness, and this is paralleled by the soundtrack. The unknown woman could be Gretchen from Faust, hopelessly in love or Ariadne who gave Theseus the thread to find his way out of labyrinth or perhaps she is one of the fates, weaving destiny… Enlarged from Super-8 to 35mm, the film is very grainy, in itself an homage to the medium of film which is also emphasized by the depiction of all kinds of turning machines, both in image and sound.

A day in the life of an old Ottoman bath with the bath itself as the main character -- from dawn till dusk, where the light, the mirroring in the water and the visitors figure alongside the protagonist .

An image of early twentieth century Germany rises from a collage of family photographs and landscapes. Meter used the photo albums of her parents, who had to flee Hitler's Germany. The shots alternately exude warmth and detachment.

“Convalescing, when you don't have to participate in the world. Time to read, to dream, to look - the blue, the light of the television, the blue, the book, the patterns the light, the blue. Time to appreciate how much that really is.”

A meditation on the concept of waiting and the internal emotional life of women relegated to that role.

Short film by Barbara Meter.

A rhythmical montage made from old photographs and films in which past and present merge.

No synopsis available yet.

Observations shot from a docking ship.

In this activist film, Barbara Meter and Trilby Fairfax explore how the images of beautiful, young women in the media affect the way women view themselves.

In this activist film, Barbara Meter and Trilby Fairfax explore how the images of beautiful, young women in the media affect the way women view themselves.

No synopsis available yet.

A short film with shots of sculptures by Anneke Walvoort. The materiality of film plays an important role: visible grain, flashes of colour, unexpected camera movements.

The film has elements of documentary, narrative and avant-garde. In a big house a party is taking place. People arrive and greet each other-encounters, some dancing, flirtations, a moment of drama. The camera is looking while slowly approaching the lit windows as if someone wanting to take part.

People embarking on a small boat - the bustle and confusion of it. A walk and a song. A villiage square, men with coffee, women with children, and old man by himself. A painterly use of film grain.

An attempt to communicate the feeling of evaporation, of disappearing and slipping away of the fragile material which is called time.

In her recent film Up to the Sky and Much Much More, Meter uses letters sent to her by her father during World War II to provide the film's narration, while interviews with her mother expand on his opposition to fascism — as well as to constraints of any kind, including the bonds of family — and his eventual conscription to the Eastern front. Remarkably, her father's epistolary accounts of his daily life as a soldier also include fantastical watercolour illustrations of his travels, which Meter incorporates to movingly amplify the emotional resonance of a father-daughter bond made fraught by distance and war.

A film by Barbara Meter

They can be seen in the whole of Greece: the small and humble buildings along the roadside dedicated to a saint. Often a burning candle illuminates the colourful interior. Most of them are erected to the memory of a beloved, killed in a car accident, others because someone has been miraculously saved. They are the evidence of a daily devotion and are called 'proskynitaria' or 'ikonismata'. The older ones many have been built becuase somebody had a significant dream on the spot, or to indicate the place of a former church or perhaps to protect the entrance of a house against ill luck. Each 'proskynitari' has its own story. This documentary tells us some of these stories and shows an importnat aspect of how the Greek people deal with death and what role religion plays in everyday life.