The Man Who Had His Hair Cut Short

Qu’est-ce qui était vrai? Qu’est-ce qui était qu’un rêve? Je ne sais trop & c’était le but de Delvaux #onremercielaconference

Moi aussi je veux pourvoir m’acheter des nouvelles pompes à 3h du mat 

Il a tellement un girly run

Qu’est-ce qui était vrai? Qu’est-ce qui était qu’un rêve? Je ne sais trop & c’était le but de Delvaux #onremercielaconference

Moi aussi je veux pourvoir m’acheter des nouvelles pompes à 3h du mat 

Il a tellement un girly run

I guess this is what it’s like to be John Hinkley Jnr?

This obscure little gem explores the life of teacher Govert Miereveld (Senne Rouffer) who is obsessed with his student Fran (Beata Tyszkiewicz) but it doesn’t appear the feeling is mutual. I’m not sure she thinks much about the dude at all tbh. He gets so distraught he leaves the teaching profession and moves with his wife and kids (did I mention he was married?) to another town and a whole new gig as a court clerk. But when he is called to assist the coroner with an autopsy in another town he has a chance meeting with Fran and his obsession goes next level…

Shot in black and white, with slow deliberate pacing that imbues every action undertaken with a pervading sense of dread and impending doom.  The autopsy is a master class of discomfort for both Miereveld and the viewer, utilising sound design to echo the snap of bone, effective in its inducement of  horror without ever actually seeing any blood. For Miereveld even getting his hair cut (which seemed unwise considering he was already rocking the Phil Collins aesthetic) feels like the eerie calm before the fast approaching storm.

I guess this is what it’s like to be John Hinkley Jnr?

This obscure little gem explores the life of teacher Govert Miereveld (Senne Rouffer) who is obsessed with his student Fran (Beata Tyszkiewicz) but it doesn’t appear the feeling is mutual. I’m not sure she thinks much about the dude at all tbh. He gets so distraught he leaves the teaching profession and moves with his wife and kids (did I mention he was married?) to another town and a whole new gig as a court clerk. But when he is called to assist the coroner with an autopsy in another town he has a chance meeting with Fran and his obsession goes next level…

Shot in black and white, with slow deliberate pacing that imbues every action undertaken with a pervading sense of dread and impending doom.  The autopsy is a master class of discomfort for both Miereveld and the viewer, utilising sound design to echo the snap of bone, effective in its inducement of  horror without ever actually seeing any blood. For Miereveld even getting his hair cut (which seemed unwise considering he was already rocking the Phil Collins aesthetic) feels like the eerie calm before the fast approaching storm.

While not being designated as such, it’s a terribly scary movie, as it is dreadfully human. 
De man die zijn haar kort liet knippen is definitely not the easiest of watches. It prolongs itself slowly and takes its sweet time in doing so all throughout; though that doesn’t stop it from being an incredibly hypnotizing experience — from each dramatically framed shot, to Delvaux’s startling direction, to Rouffaer’s phenomenal performance and the premise behind the action; we’re completely swept into the play as it goes along.
The uneasiness depicted by the picture is nothing of sorts but a direct reflection of the burdens that come with our unfulfilled desires, staying then true to one’s nature and the film itself aswell, making it viable for the viewer to connect with the humanity portrayed on screen.

While not being designated as such, it’s a terribly scary movie, as it is dreadfully human. 
De man die zijn haar kort liet knippen is definitely not the easiest of watches. It prolongs itself slowly and takes its sweet time in doing so all throughout; though that doesn’t stop it from being an incredibly hypnotizing experience — from each dramatically framed shot, to Delvaux’s startling direction, to Rouffaer’s phenomenal performance and the premise behind the action; we’re completely swept into the play as it goes along.
The uneasiness depicted by the picture is nothing of sorts but a direct reflection of the burdens that come with our unfulfilled desires, staying then true to one’s nature and the film itself aswell, making it viable for the viewer to connect with the humanity portrayed on screen.