Mattijn Seip Trailers
Portraits Trailer...And a Table Trailer
Mattijn Seip studied at the Nederlandse Filmacademie in the early 1960s, and was a member of the illustrious generation of Wim Verstappen, Pim de la Parra, Adriaan Ditvoorst, and Nicolai van der Heyde. He made controversial films during that period: IJdijk and Schermerhoorn, both from 1965.
In August of 1968, Seip and Niko Paape co-founded ‘STOFF’, due to their dissatisfaction with the existing subsidy regulations. They demanded more freedom, and wanted to democratize filmmaking. STOFF emerged from a collaboration that also included other filmmakers such as Jos Schoffelen and Seip’s then-partner Barbara Meter. This collaboration was continued in Electric Cinema.
The films that Seip made in this period had a strong structuralist focus; they were films in which the properties of the film medium played the central role. Examples include Double Shutter and After the Colours from 1972.
From 1974 onwards, Seip increasingly began to focus on socially critical films. Together with Meter, he was part of the Polkin collective. In the 1980s, he directed two feature films: the short In de buik van de stad (1983) and the feature film De val van Patricia Haggersmith from 1986.
Most Popular Mattijn Seip Trailers
Total trailers found: 12
27 August 1972
Faces pass by in quickly edited, split-screen recordings. A 'structuralist' film in which the film material itself plays an important role.
01 January 1972
For After the Colours, Mattijn Seip filmed abstract collages of strips. The first part of the film consists of footage shot by using rotating objects that were located between the camera and the collage.
01 May 1967
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.
01 January 1971
A man and a woman sit in front of a window and eat breakfast. Through the window, we see the countryside.
01 August 1965
a man with a moped and groups of boys (one in particular) are in conflict, which sometimes turns into erotic play.
01 January 1972
Abstract colour compositions in yellow, red, and blue, created using an optical printer, are assembled layer by layer.
01 January 1971
Investigation printed on an optical printer of inside and outside a film window.
01 January 1970
A film about the beauty of impermanence and about everything that people throw away. A mix of recognizable images from reality and abstract images, which have been painted or made using colour filters.
01 January 1970
Shots of a street filmed from a swing. An additional shutter has been mounted in front of the camera, creating a pulsating flicker effect.
01 January 1969
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.
