1957荷兰纪录片·短片
"The brooding, existentialist portraits of his classmates in We Are 17 clashed so much with Holland's postwar optimism that a counter-album, We Are Also 17, soon appeared. His early experimental films, like Paris a l'aube (Paris at dawn) (1957-60), a ten-minute sequence of long, static views of the city shot every morning at 4 A.M., were dismissed as "photographic," while those of the '70s, notably North-South Triptych (1972-74), were marginalized because of their radical politics (not to mention their experimental form). Increasingly complex works in recent years continue to defy received notions of film versus photography, documentary versus fiction, and public versus private art: Amsterdam Global Village (1996), for example, is a look at the postcolonial metropolis as a post-McLuhan mosaic. It begins with a colorful St. Nicholas festival on Amsterdam's canals, and circles village and globe for more than four hours before culminating in a polysexual fantasy filmed behind an august facade overlooking the same canals."