EGON (9', The Netherlands, 2013)

Screening: Sa, 14 Dec., Studio Cinema, 8:30pm

Symptoms of influenza make the last days in the life of the Austrian painter Egon Schiele (EGON) seem to be played out beyond the confines of a set time and space. His stylized portraits come to live and edge him further towards death. This brings his characteristic work to life in a romantic, but also raw and merciless way. Played out on melancholy tunes, the black and white reality gives way to a feverish dream, in which powerful, expressive movements explore the boundary between beauty and eroticism on the one hand, and decay and perversity on the other. (Netherlands Film Festival)


With the support of:


Cast: Youri Jongenelen, Gloria Benedikt, Richèl Wieles

Cinematography: Ton Peters

Art Direction: Roland Mylanus

Choreography: Thom Stuart

Editing: Teun Rietveld

Sound: Evelien van der Molen

Producer: René Huybrechtse

Production: Dutch Mountain Movies

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Roen Kiewik




MICHIEL VAN JAARSVELD graduated from the Dutch Film Academy in 1992 as a writer/director/editor. After a start as a fiction film editor, he wrote and directed the television single play Marrakech in 1996, which was nominated for a Golden Calf at The Netherlands Film Festival, and for the EBU Award Best TV script. In 2001 he directed his first feature ADRIFT, a coming of age drama. The film was selected for the festivals of San Sebastian, Toronto, and was awarded at some of the many other festivals. His short comedy TONINO was nominated for a Golden Calf at The Netherlands Film Festival in 2002. In 2010 he directed the children’s short Papa’s Tango, that was selected for the Berlinale 2012, Chicago (Prix Jeunesse), and Buster, where it won best Children’s Short.



Netherlands Film Festival 2013

Cinedans: Dance On Screen Festival, The Netherlands 2013


EGON started with Thom Stuart and the dream he had after seeing an exhibition of Schiele: to translate these paintings into dance. It had to be done on film, to be able to make use of powerful cinematic means like framing and isolation of physical elements in space. To me that sounded like a totally logical point of attack. Just going through a photo book with Schiele’s paintings, creates moving images with a physicality that resembles modern dance. But making it cinema also means telling a story and placing it inside some form of reality. The twisted, tormented bodies Schiele has put on canvas, seem to be coming out of a feverish dream, or to be suffering from a fever themselves. Sickness and decay mix up with eroticism in a very direct way, creating highly memorable images. We never tried to be biographical. We simply used elements of his life to create the feverish state of mind that is so strongly evoked by his paintings. This inspired us to use black and white and a more historical way of lensing to establish a certain reality, whereas the dance sequences were shot in color, depicting Schiele’s imagination. But this reality was a cinematic reality for us, allowing a more surrealistic approach into the black and white sequences.” (MICHIEL VAN JAARSVELD)

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