Malin is what the Chinese made of Maring – an alias used by Henk Sneevliet. By now, he is probably best known for the Amsterdam metro stop named after him, but who was Sneevliet? Artist Gyz La Rivière is the TV reporter and newsreader who regales his viewers with the tale of the man’s impressive past. Born in Rotterdam, Sneevliet became a passionate communist who left for Russia and China, where he hung out with the likes of Lenin and Mao.
Producer
Malin is what the Chinese made of Maring – an alias used by Henk Sneevliet. By now, he is probably best known for the Amsterdam metro stop named after him, but who was Sneevliet? Artist Gyz La Rivière is the TV reporter and newsreader who regales his viewers with the tale of the man’s impressive past. Born in Rotterdam, Sneevliet became a passionate communist who left for Russia and China, where he hung out with the likes of Lenin and Mao.
Screenplay
Malin is what the Chinese made of Maring – an alias used by Henk Sneevliet. By now, he is probably best known for the Amsterdam metro stop named after him, but who was Sneevliet? Artist Gyz La Rivière is the TV reporter and newsreader who regales his viewers with the tale of the man’s impressive past. Born in Rotterdam, Sneevliet became a passionate communist who left for Russia and China, where he hung out with the likes of Lenin and Mao.
Director
Malin is what the Chinese made of Maring – an alias used by Henk Sneevliet. By now, he is probably best known for the Amsterdam metro stop named after him, but who was Sneevliet? Artist Gyz La Rivière is the TV reporter and newsreader who regales his viewers with the tale of the man’s impressive past. Born in Rotterdam, Sneevliet became a passionate communist who left for Russia and China, where he hung out with the likes of Lenin and Mao.
Writer
In a world where cities are becoming more important than countries, Rotterdam, Liverpool, Marseilles and Naples could form a 'cities gang'. All four are working class, multicultural and internationally oriented, and have been influenced significantly by urban planning and nineteenth-century and modernist urges to demolish. They share a clichéd sense of inferiority and often top 'the wrong charts'. They are currently undergoing an international re-evaluation, including ongoing processes of gentrification. Their shared characteristics could form the basis for a gang of cities capable of taking on the world. Or even showing the world how it could be done.
Director
In a world where cities are becoming more important than countries, Rotterdam, Liverpool, Marseilles and Naples could form a 'cities gang'. All four are working class, multicultural and internationally oriented, and have been influenced significantly by urban planning and nineteenth-century and modernist urges to demolish. They share a clichéd sense of inferiority and often top 'the wrong charts'. They are currently undergoing an international re-evaluation, including ongoing processes of gentrification. Their shared characteristics could form the basis for a gang of cities capable of taking on the world. Or even showing the world how it could be done.
Producer
Rotterdam 2040 is a film about the city’s future, departing from the principle of Gyz La Rivière that you can’t look ahead without considering your past (something that hasn’t always been Rotterdam’s strongest feature). At high speed, La Rivière reconstructs the history of Rotterdam from the time before the bombings until now, and expands the developments to the year 2040 (100 years after the bombing and the 700th anniversary of the city). La Rivière made a specific choice to expose his personal vision, which is sometimes radical or a little absurd. So no experts and no talking heads, but an assault of old and new imagery, held together by La Rivière as the narrator of the film. Although Rotterdam 2040 deals with architecture and urban renewal, it is actually a film about people. The subjective experience of the city by its (future) occupants mainly determines the parade of architectural blunders and suggestions for the future. All tongue-in-cheek of course.
