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These girls play so good! And the story will encapsulate you completely. A wonderful experience, one of my favourites of IFFR 2013.
Such a beautiful station, now it's finnished.
I've been going to the International Film Festival Rotterdam for more than 25 years now. Which (besides very old) makes me utterly excited, year after year. It's one of the coolest movie festivals on earth, if you ask me. Besides hundreds of arthouse films there is also a vibrant nightlife and art programm during IFFR.
This time I only took pictures with my phone, a Nexus 5. Often using Vignette as the default photo app.
Here's the result.
President of Lithuanian Republic Rolandas Paksas (he is aerobatic pilot) and head of AVIAT Foundation and German IFFR member Ulrich Voswinckel (flies as a hobby) are sitting in the replica of Wright-Flyer B
Dutch postcard, Sparo.
Cinema Luxor was built in 1917 by architect P.J. Vermaas and could hold 1200 seats then. It was the first really big film theater in town. Luxor opened with the Dutch film Gloria Transita by Johan Gildemeijer. It was an opera film with live song performances by renowned Dutch singers such as Louis Morisson and Emil van Bosch. Around 1918-19 it became a Dutch film theater for the German Ufa films, that's way there are the German letters Palast [Palace] on the facade. The takeover was first secretly done by middlemen as Germany had lost the war of 1914-1918, but by 1926 the Dutch branch of the Ufa company became offically proprietor (until 1938). In the late 1910s and 1920s Luxor showed the creme de la creme of Weimar cinema such as the adventure films by Joe May and with his wife Mia May in the lead, the major films by Ernst Lubitsch with Pola Negri, and the crime film by Fritz Lang. Popular films like Lubitsch' films Dubarry, Carmen and Anna Boleyn and Murnau's Faust were reprised in later years, while Lang's Nibelungen ran for several weeks in 1924-1925 and his Metropolis for weeks in 1927.
The German offer was not strictly Ufa and was also mixed with French, Italian and American films such as Griffith's Orphans of the Storm, Italian epics like Quo vadis?, and Duvivier's Credo ou la tragédie de Lourdes, which ran for several weeks in 1924. In the late 1920s featurelength silent documentaries were popular; these were also reprised in the early 1930s when sound had already set in. Also some popular silent fiction films such as Faust or Nibelungen were still shown in the early 1930s. In 1928 Luxor was remodelled by architect J. van Wijngaarden and in 1929-1930 it switched to sound with films like Der blaue Engel and the musicals with Lilian Harvey and Willi Fritsch, such as Zwei Herzen in Dreivierteltakt, Drei von der Tankstelle, Der Kongress tanzt, Ein blonder Traum and Ich und die Kaiserin.
Luxor miraculously survived the Rotterdam bombardment and subsequent fires of May 1940. After the war it was for years property of the Rotterdamsche Kunststichting (the Rotterdam Art Council), who ran it as a cinema, but slowly it became more and more mixed with theatre and vaudeville. In the early 1970s Luxor got a radical make over, losing most if its old elements; the number of chairs went down to 900. Luxor closed down as a cinema in 1985 but is still running as a theatre. End of January every year though, cinema still temporarily returns at Luxor for the International Film Festival Rotterdam (IFFR). The Hotel Central, visible in the picture and also dating from 1917, is still there too, and is a wellknown address to the IFFR patrons. The facade hasn't changed very much since 1917.
NB In 1998-2001 a new Luxor Theater was built by Australian architect Peter Wilson; it is located at the upcoming quarter of 'Kop van Zuid'.
Sources: Wikipedia, grandhotelcentral.nl/, www.luxortheater.nl/, www.cinemacontext.nl
Blijkbaar heeft deze pin een deukje opgelopen en moest hersteld worden voordat die op locatie kon staan.
On the way to my second film of the festival: Antonia after last night's disappointing Samurai flick in Pathé 1 at the theatre in the picture.
Cinerama is a better theatre all together but a bit of a walk from the station. Good thing that parts of Rotterdam that matter are located in a city center not much bigger than for instance that of the Hague. The rest of the city being a drab outstretch of failed urban planning.
Antonia didn't have the flair of a Habana Blues but was splendid if you're keen on Brazilian culture, language and music -like me.