A man and a camera

A hand reaches towards the doorbell. A neat gravel path, a coat rack full of windcheaters and the sound of children playing in the back garden. In Guido Hendrikx’ silent tour of Dutch front doors, we always have to wait and see who will open up – and what happens next. The result is both recognisable and fascinatingly alienating, at times also causing vicarious shame on the viewer’s part. After all, it could easily be your front door.

Hendrikx’ choice to remain stubbornly silent as he holds his camera on the doorstep leads to a stunning feat of cinema. Everyone who opens their door displays a different assumption: from fear of the unknown to unrestrained welcome. As an interviewing technique, Hendrikx’ silent approach works surprisingly well: some residents even answer their own questions. This successful, original work also gives rise to a creeping sense of unease in the viewer. What would you do, and why? The many responses can in no way be predicted on the basis of the residents’ age, the state of their front garden or address.

As part of Critics’ Choice VII: On Positionality, the screenings of A man and a camera will be preceded by a video essay from Dana Linssen and Jan Pieter Ekker.

Interview

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