Fiche Personne
Musique
Théâtre
Cinéma/TV
Danse
Hillie Molenaar
Réalisateur/trice, Producteur/trice, Assistant/e réalisateur
Pays-Bas
English
Hillie Molenaar left school at 15 and worked as a cleaner, waitress, bookkeeper and potato-peeler before finding her niche as a documentary filmmaker in 1974 when, at the age of 29, she made her first film Protest Garden. She was assistant to the legendary Joris Ivens before she formed Molenwiek Film with Joop van Wijk in 1978. Jointly they have produced and directed a dozen award winning documentaries and short films including The Factory [1980], Isingiro Hospital [1993] and Crossroads [1990]. She has since formed her own production company HM Films.
In her youth she thought she could change the world, now all she hopes to do is show another point of view. In her first documentary on abortion she tried to show that the issue was more complex than simply taking a pro- or anti- stance. Then she went behind the Iron Curtain where she found no enemy, only ordinary people living their lives. Whilst she does not identify with any one style of filmmaking, her technique is recognisable by virtue of the respect she shows « ordinary people » and the way she encourages them to express themselves in her films.
Molenaar believes that filmmakers must know what they want and be willing to fight for it, to have an « elephant skin » while maintaining a necessary flexibility. « Directing is a horrible job », she says.
She was be a tutor at the Close Encounters Laboratory (Encounters South African International Documentary Film Festival | CAPE TOWN, 2000).
In her youth she thought she could change the world, now all she hopes to do is show another point of view. In her first documentary on abortion she tried to show that the issue was more complex than simply taking a pro- or anti- stance. Then she went behind the Iron Curtain where she found no enemy, only ordinary people living their lives. Whilst she does not identify with any one style of filmmaking, her technique is recognisable by virtue of the respect she shows « ordinary people » and the way she encourages them to express themselves in her films.
Molenaar believes that filmmakers must know what they want and be willing to fight for it, to have an « elephant skin » while maintaining a necessary flexibility. « Directing is a horrible job », she says.
She was be a tutor at the Close Encounters Laboratory (Encounters South African International Documentary Film Festival | CAPE TOWN, 2000).
Films(s)
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Daily Nation (The)Long-métrage – 2000Hillie Molenaar et Joop van Wijk jettent une lumière sur le quotidien kenyan à succès The Daily Nation. Les deux réalisateurs mettent l’accent sur la manière dont ce journal symbolise l’histoire et la réalité présente d…Hillie Molenaar est lié(e) à ce film en tant que réalisateur/trice
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Crossroads [real: Molenaar & van Wijk]Long-métrage – 1996Le film analyse l’impact socio-économique de la brutale hausse de la population de Benaco (Tanzanie) où les routes venant de l’Ouganda croisent celles qui viennent du Kenya au Zaire (via le Rwanda). En 1994, des milliers…Hillie Molenaar est lié(e) à ce film en tant que réalisateur/trice
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XimeLong-métrage – 1994En cette année 1962, la bonne récolte de riz qui s'annonce incite le village de Xime à l'optimisme. Mais Iala, le père de Raul et de Bedan, qui est veuf, est inquiet. Raul, son fils a&…Hillie Molenaar est lié(e) à ce film en tant que producteur/trice
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Bamako-Dakar (Le)Court-métrage – 1989Pour la population du Mali, le chemin de fer Bamako-Dakar est le symbole des changements qui commencent à se faire sentir dans ce pays, l’un des plus pauvres du monde. LE BAMAKO-DAKAR décrit la lutte que les femmes du Ma…Hillie Molenaar est lié(e) à ce film en tant que réalisateur/trice
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