This movie gives the viewer a nice view in the Dutch drugs-scene, 7 years ago... The movie is fresh and unique, and will leave the viewer with in trance. Negative: The fake accent of main-actress Fem van der Elsen. She is just trying too hard.
6 Reviews
TRUE MASTERWORK
wandavra-566-31443620 January 2018
Don't be fooled by appearances, this is a beta film alright, shot on amphetamine fuelled hand held video cam with over-saturated post-production and excellent sound design. This movie is brilliant trash. It will get you wasted just watching it and if you happen to also be a person who likes getting wasted, you'll understand why this can be so much fun. Wanna share a pill?
yoyo is de best
vlvetmorning981 July 2003
A sharp look at the consequences of naiveté in the drug world.
holydadasnake23 July 2013
Warning: Spoilers
(this film made 17 years ago, has not dated an iota)
Kaganof has masterfully tackled the vexing conundrum of '90's drug culture with stroke after stroke of perceptive genius .superbly supported by a cast of players who never for a second falter, all bearing equal import
"the invisible tensive straws that can save us are those of individual human integrities..in daring to steer the individual's course only by truth, strange as the realized truth may often seem .wherever and whenever the truths are evidenced to the individual wherever they may lead, unfamiliar as the way may be ." thus wrote Richard Buckminster Fuller in CRITICAL PATH (1981)
and its as if Kaganof has, using the perceptual license of film and all its associated chemistry and possibility of revelation, set out to transmute and demonstrate exactly how this statement morphs, into and from, real life forming a potent contextual value system within our seemingly random life paths the threads that bind .
as an artist might create a daub of pure red oil paint on an otherwise multifaceted incoherent backdrop and let it sit there speaking volumes rising to the occasion .burning into consciousness .Kaganof illuminates the undercurrent of tetchy and/or tender personal relationships from a deceptively simple self evident view point, allowing the complexities, the intra/extra-personal tropisms (needs, wants) to run their course in this snippet of '90's slice-of-life drug culture. In so doing, Kaganof never misses a beat, a thread, a nuance. He constantly places these kaleidoscopic points of human behavior under the microscope and extracts from them an essence, a heart an energy, that, with uncanny precision and insight, travels both backwards and forwards in time within an instant ..
..we get the full picture immediately we get the real deal.
Personal interactions within the drug world are never fully explainable: they are lived, driven by an inter-connective energy that has its own inherent logic magnified by a sped-up time frame Wasted Still .transmuting that geodesic architectural infrastructure/concept filmatically into the visual construction of a ploy (DD – Afke Reijenga – and Yoyo – Jarinda Moll sizing up and making a move on DJ Cowboy – Thom Hoffman), of a sentence, a body gesture, a sweep of the hand, the styling of a garment, dark hair geometrically styled and knotted in pouting baubles, party tickets illuminating into money, spinning vinyl multi-layered by flashing disco UV, lower-lid eye muscles contracting in forewarning of emotional pain – yet ignored, a switch of the degree of lighting and colours from Wasted Stillgarish to drab, a clinical study of different degrees of maturity pulling apart (Jacqueline – Fem van der Elzen – and Martijn – Tygo Gernandt), a dissipated semi-erect penis, dance crowds morphing along random lines of interconnectivity, a thirst quenched like no other after sexual abandon, a pliant woman yielding within the peaks of drugged debauchery, different ambitions and drives crisscrossing on this flighty ladder of one-upmanship, the ephemeral vacuousness of fame swinging from potency to impotence in an instant, weighted directions balancing on precarious and fragile egos, inherently terminal drug addled mindsets resting on their tender laurels .
Kaganof has masterfully tackled the vexing conundrum of '90's drug culture with stroke after stroke of perceptive genius .superbly supported by a cast of players who never for a second falter, all bearing equal import
"the invisible tensive straws that can save us are those of individual human integrities..in daring to steer the individual's course only by truth, strange as the realized truth may often seem .wherever and whenever the truths are evidenced to the individual wherever they may lead, unfamiliar as the way may be ." thus wrote Richard Buckminster Fuller in CRITICAL PATH (1981)
and its as if Kaganof has, using the perceptual license of film and all its associated chemistry and possibility of revelation, set out to transmute and demonstrate exactly how this statement morphs, into and from, real life forming a potent contextual value system within our seemingly random life paths the threads that bind .
as an artist might create a daub of pure red oil paint on an otherwise multifaceted incoherent backdrop and let it sit there speaking volumes rising to the occasion .burning into consciousness .Kaganof illuminates the undercurrent of tetchy and/or tender personal relationships from a deceptively simple self evident view point, allowing the complexities, the intra/extra-personal tropisms (needs, wants) to run their course in this snippet of '90's slice-of-life drug culture. In so doing, Kaganof never misses a beat, a thread, a nuance. He constantly places these kaleidoscopic points of human behavior under the microscope and extracts from them an essence, a heart an energy, that, with uncanny precision and insight, travels both backwards and forwards in time within an instant ..
..we get the full picture immediately we get the real deal.
Personal interactions within the drug world are never fully explainable: they are lived, driven by an inter-connective energy that has its own inherent logic magnified by a sped-up time frame Wasted Still .transmuting that geodesic architectural infrastructure/concept filmatically into the visual construction of a ploy (DD – Afke Reijenga – and Yoyo – Jarinda Moll sizing up and making a move on DJ Cowboy – Thom Hoffman), of a sentence, a body gesture, a sweep of the hand, the styling of a garment, dark hair geometrically styled and knotted in pouting baubles, party tickets illuminating into money, spinning vinyl multi-layered by flashing disco UV, lower-lid eye muscles contracting in forewarning of emotional pain – yet ignored, a switch of the degree of lighting and colours from Wasted Stillgarish to drab, a clinical study of different degrees of maturity pulling apart (Jacqueline – Fem van der Elzen – and Martijn – Tygo Gernandt), a dissipated semi-erect penis, dance crowds morphing along random lines of interconnectivity, a thirst quenched like no other after sexual abandon, a pliant woman yielding within the peaks of drugged debauchery, different ambitions and drives crisscrossing on this flighty ladder of one-upmanship, the ephemeral vacuousness of fame swinging from potency to impotence in an instant, weighted directions balancing on precarious and fragile egos, inherently terminal drug addled mindsets resting on their tender laurels .
New technology as a basis for techno-movie
zaii3 October 1999
Ian Kerkhof made a real statement by creating this project. Naar de Klote! is the first long movie entirely filmed in Digital Video, which opens a new world of possibilities. Digital music and the Dutch techno-scene are the bases for the story. If you are fond of new technology and digital images this film is a 'must see'.
Stinker
anonymous-326 January 1999
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