25 Paintings are based on a found black and white photograph of an unknown woman. These paintings are animated to recapture the moment that once must have happened; an interaction between photographer and model. The Skipping Mind shows an imagined memory and the gaps of recognition that comes together with remembrance. The installation encloses the painted stills and the animation of these portraits.

After the touring exhibition, THE SKIPPING MIND was exhibited in the National Museum in Prague. The portrayed woman was recognized by her granddaughter. Then suddenly the unknown woman had a name, an address, and a family. I decided to meet her, to make the film THE SECOND MEMORY. In this film, I visited the lady in Prague, then in advancing years, for the first time. The discrepancies between past and present are intriguing.

- installation, video and 25 paintings, oil on canvas, 25 (40x50cm), original animation sequence: 5"56 minutes - painting, animation: Bea de Visser

Excerpt of the film

A breathtaking short film about breathing, located in the realm where breathing is impossible - a man disappears under the water surface and given by nature he is urged to return to the other side. As the minutes go by, you also hear the sounds of breathing and heartbeat, you begin wondering when the diver will start gasping for air. You see images of another, ’breathtaking ’ world, where the man almost becomes an alien, being like an unborn child in his amniotic fluid, a cosmonaut adrift in the universe. But the man is unavoidably forced to break away from these immaterial spheres, to emerge and fill his lungs with air...

- Short film, 7"52 minutes, Betacam - Cast: Robert de Bruin - Camera: Eugenio Follender - Music: the use of ashes

Excerpt of the film

In brief sequences portraits of look-alikes are linked. BLINK reveals how we generalise apparent differences and agreements by reading the face and poses questions about a personal identity. The installation relates to photography and the methods by which the medium film materialises her immaterial origin: the mind that returns as an appearance out of its own disappearance, the most magical of chemical reactions, from black to white, from negative to again positive.

- installation, duration of sequences 20 min.
- 2-channel projection
- image processing, animation: Bea de Visser
- Music: the use of ashes

Excerpt of the film

Installation by Bea de Visser for the international exhibition on location: a hotel at the border between Austria and former Yugoslavia. The installation is based and contextualised on 'sweet water', drinkable water. This was the main issue for the interviews Bea De Visser collected from the people in the mountain village, with mixed families from mixed ethnical backgrounds on the border. This water dividing line, which is a given nature fact of that mountainsope on that height, spreads the water towards the Mediterranian or towards the Atlantic Ocean. It reflects a true divorcing power between the groups of the original inhabitants through history.

- hotelroom with wall projection, ghettoblaster and tapes with interviews of the local people
- concept, camera, interviews: Bea De Visser
- Commissioned by Gabrielle Kranzelbinder for the University Klagenfurt Austria

Heartbreaking noise of clear high and highest frequencies by entering the room; a finger rubbing the edge of a crystal glass. The 16mm film installation shows two separate hanging transparent see-through screens. After a short time the noise stops. Voices are heared from a sound route over 8 speakers. One hears almost all imaginary and thinkable expressions and words replacing the sentence and meaning of "I love you", which stands for the ultimate line of a pop-song. In the given lines, performed by the cinema public, one finds out that there are a millon intimate and authentic ways to express your love.

- 2 channel 16mm film projections / 8 speakers
- Concept, interviews, sound: Bea De Visser
- Camera: Stef Tijdink
- Language: Dutch
- Commissioned by Stichting Filmstad and Filmhuis Den Haag, NL

The most magical step in dance is 'walking', the magical phenomenon of balance when one foot is placed in front of the other. Rudi van Dantzig (choreographer, former dancer and artistic director of the National Ballet), works at home on the first steps of a choreography. Inserts by solo dancer Andrew Kelly in the studio show the way from step to dance. In the film I tried to capture the searching, hesitant and thoughtful creative process of what would later result in an evening-filling ballet.

- Concept, direction, edit: Bea de Visser, 8 minutes, 35mm
- Cast: Rudi van Dantzig, Andrew Kelly
- Camera: Erik van Empel
- Sound: Jan Wouter Stam
- Sonorisation: Peter Hoeks
- Production: Pieter van Huystee Film

Excerpt of the film

A torn up monologue by a man who has temporary lost his tracks. The Barren Land is loosely based on monologues from the great Tragedies and other words of rumour, humour and horror.
Light-footed, boisterous, absurd and touching The Barren Land tells about primal loneliness, one of most individual and simultaneously most general emotions.

All words are found footage i.e. Oedipus, Hamlet, Hank Williams, Mae West, Hugo Claus, Bert Schierbeek, Mick Jagger and the Guinness Book of Records.

- a short film by Bea De Visser, 35mm, 8"35 minutes - English
- Cast: Richard Strange
- Camera: Stef Tijdink
- Original music: Peter Hoeks
- Production: Pieter van Huystee Film

Excerpt of the film

Permanent transmission of a video signal (Netherlands Tax Authority Computer Centre). The view and eye movements of the artist are depicted and transferred into a digital script and performed by means of special designed software, transmitted and edited to 18 monitors. All processes are real-time. This include camera movements, focus and zoom controls, editing and transmmitting the AV-signal, 24 hours a day 7 days a week.

- camera, zoom lens 12-240mm, pan&tilt unit, video control unit, data scripts for editing and camera control, 2 circles of 9 monitors
- concept, eyes, design scripts for software: Bea de Visser
- Commissioned by Atelier Rijksbouwmeester / Rijksgebouwendienst
- Location: B/AC, Belastingdienst Automatiseringscentrum, Apeldoorn, NL

A scenery for the performance ‘Waterlanders’ of Dance Group Krisztina de Châtel. The projecte image is literally snapped from the universe, framed and edited within the choreography, now and then thrown on the floor or left unseen in complete darkness. Three wind machines regulate the screen, blowing in the wind and folded and bowed by its force.

- HDV, 2 channel video, overlap projection, duration performance: 55 min.
- camera: Bea de Visser

Excerpt of the film

Bea de Visser’s provocative ‘Blowup’ (2022) show close-ups with stuttering edits add a jarring and sometimes repulsive intimacy to the innocent rituals of small girls blowing bubblegum.
4 Girls and 4 pieces of chewing gum together make a world of difference in terms of seduction, dirtiness, emotion, sensitivity, sweetness, playfulness, innocence, color, smell and bewilderment. The scene is uncultivated, incorrupt, unsolved, invincible, unsurpassed and is almost unbearably beautiful and meant to stay on the retina forever.

- BLOWUP [BUBBLS], a cineboard by Bea de Visser, looped sequence 23 min. Digibeta
- Camera: Adri Schrover
- Edit, stills: Bea de Visser
- Commissioned by Stichting Picos de Europa, NL
- Distribution LIMA Amsterdam

Excerpt of the film

Documentary portrait of Marketa Kulhanková, the woman who modelled for her husband, photographer for Agfa Berlin, in 1953. I found the book with the photos at a photo dealer in Prague. The photos of the woman in time and place just after World War II with her visible Jewish features suggested a hidden story. I tried to 'revive' the woman through 25 painted portraits that I digitized and animated as frames (The Skipping MInd, 1994).
In 'The Second Memory' I visit Marketa Kulhanková in her house and photo studio in Prague at the time. Now at an advanced age, I confront her with the animated portrait that was painted in 1993 based on the photos her husband took of her in 1953. During the film, not only does the memory of the photo recordings revive, but Marketa sees herself in front of her moving in front of the camera for the first time (deep fake avant la lettre).

- 35mm film, 11 minutes
- animation and paintings: Bea de Visser
- camera: Miroslav Janek
- original music: the use of ashes
- production: Anotherfilm
Excerpt of the film

Just a Minute Yoko. An alternative look at Yoko Ono's famous buttocks film from the 1960s. "it's just a statement of the obvious".
2004

Bottoms, is the wallpaper version, a cineboard. Duration sequence 22 minutes

- Production: AnotherFilm
- Written and directed by Bea de Visser
- Camera: Adri Schrover
- Voice: Jaap Blonk (Just a minute Yoko)
- Language: Guy de Cointet (Just a minute Yoko)
- Bottoms: all friends
- Commissioned by the International Film Festival Rotterdam (Just a minute Yoko)

Excerpt of the film

Vanya runs for her life, what for, where ever ... Bea de Visser creates for the Pleinmuseum pavillion a surreal montage by which she makes maximal use of classical, filmic 'suspense'. All means and techniques add to the slow tension; not only the film set (the elongated seaside of Normandy in France), the virtuoso actress (Vanya Rose) and the estranging sound effects, but also the photography (by Bea de Visser herself) and of course the edit, are interwoven into an extreme branched off network.

- 8- channel film by Bea De Visser, HDV, duration 8 X 13 minutes
- camera: Bea de Visser
- Vanya: Vanya Rose
- Production: Anotherfilm
- Commissioned by Stichting Pleinmuseum and Centraal Museum Utrecht

Excerpt of the film

The screen is the stage. During the theatre performance the 9 dancers are positioned before the screen, hanging on ropes or walking on 3 narrow platforms. The film scenography deepens the dimensions of the performers. One hears Lucas Vandervost (Belgium) reading from Nijinski’s Diary. It reads as a long monologue of despair, loneliness, lust, sexual obsession and longing for being loved by the masses. In a repetition of sequences that reflect Nijinski’s artistic development and his mental decay, we follow Jean- Guillaume Weis (Luxemburg). He adapts a typical dance idiom of Nijinski in his performance. His movements result in a fabulous touching reveal of a nowadays soul of Nijinski.

- HDV, 9X9 m, 1-channel projection, duration 25 minutes (theater performance 45 minutes)
- Nijinski: Jean-Guillaume Weis
- Choreography: Jean-Guillaume Weis
- camera: Bea de Visser
- Music: George Dedecker (original soundtrack)
- Production: Anotherfilm Rotterdam
- Location: Grand Theatre Groningen, NL

The theatre production 'Nijinski, a painting' is a Grand Theatre production for the Diaghilev Festival (Jan. 2005). Concept: Niek Kortekaas (Belgium)

This sober and yet emotional film with dancer Jean-Guillaume Weis visualises the artistic development and the last days of the famous dancer Vaslav Nijinsky in an asylum. At the time, he was writing his diary, which is quoted in the film, and which not only indicates his mental state, but also his desire for love and recognition from the general public.

'Roses and Fall' is released by Homescreen under the title 'Ballets Russes'. Documentary 118 min. About the dancers and choreographers - now as 70ers, 80ers en 90ers - who were the pioneers for the modern ballet, direction Daniël Geller, Dayna Goldfine

- 35mm film, Dolby SR, colour, 7 minutes, French spoken, English subtitled
- Choreography / dance / voice: Jean-Guillaume Weis
- camera: Bea de Visser
- Production: Anotherfilm

Excerpt of the film

"Nothing more comic as the accident" once said by Samuel Beckett. If that is true, we need more accidents, or spend more time exposing ourselves to danger.

14 scenery films for the theatre production by the same name Catastrophes, performed by JG Weis Dance People at the Theatre National de Luxembourg, January - April 2006. ‘Catastrophes’ is inspired by the play 'Catastrophes' written by Samuel Beckett for Vaclav Havel in 1982.

- HDV, duration performance 55 min. all films and camerawork by Bea De Visser
- Production: Anotherfilm
- Commissioned by Theatre National de Luxembourg

Excerpt of the film

Theatrical imagery for CIRCUSISM, a performance by the jazz ensemble I COMPANI

A performance: Mozart looks round, as long until, ..., he flies off...gone.

The film make good use of the expectation that something will happen. The owl Mozart is the performer who touches you by his beauty, plush outlook, lust for murder and its deadly weapons. With some black humour for projection dream images are pushed away by the shadows of the mind and bizarre illusions about the bird and his prey. In the end it happens: the bird flies off.

- Camera: Jacques Laureys
- Eagle Owl: Mozart
- Production: Anotherfilm
- HDV video, 7"51 min.
- Commissioned by I Compani/ Dziga

Excerpt of the film

In one long shot this adaptation of La Mamma Fricchettona, a monologue by Nobel Prize winner Dario Fo, shows Viviane De Muynck in a humorous elucidation of a woman’ s odyssey from doting motherhood to a state of independence whilst addressing an invisible and anonymous man. In an ambiance of a warehouse filled with white sacks the protagonist vociferously relates her non-existent relationship to husband and child and her escape to the alternative underground of squatters and punks, who are more of a family to her than her own brood.

- A short film by Bea de Visser with Viviane De Muynck
- Camera: Adri Schrover
- 14 minutes, HD, Dutch, English subtitled
- Production: Anotherfilm

Excerpt of the film

A cinematic performance where all the drama is excised, remains invisible. A post-narrative, staged documentary image of an almost deserted pool, a day before the demolition.

- written, directed and edited by Bea de Visser
- Camera: Gregg Telussa, Jan Wich
- 18 minutes, HD, no dialogue
- Production: Anotherfilm

Excerpt of the film

Modest Doubt #1 was scripted, staged and recorded by Bea de Visser. Performed by counter tenor Oscar Verhaar. Its lyrics are an assembly of elements of the European Convention on Human Rights and the Woman Monologues by William Shakespeare.

scripted and directed BEA DE VISSER
camera BENITO STRANGIO
sound MATT KEMP
editor BEA DE VISSER
text adaptation BEA DE VISSER from European Convention on Human Rights, Women Monologues by William Shakespeare
song adaptation OSCAR VERHAAR

Excerpt performance

Modest Doubt # 2 was scripted, staged and recorded by Bea de Visser. Performed by the pianists Javier Krohn en Erwin Roommert Weerstra. The event is contemporary interpretation of Gnossiennes 1 by Erik Satie, in both composition and composer.

- scripted and directed BEA DE VISSER
- camera BENITO STRANGIO
- sound MATT KEMP
- editor BEA DE VISSER
- music Modest Doubt #2 Gnossienne nr. Erik Satie
- adaptation for two piano's by BEA DE VISSER

Excerpt performance

TURN a hybrid film about the legendary Dutch gymnastic Verona van de Leur.
The phenomenal rise of gymnastic legend-turned-webcam girl Verona van de Leur.
A filmproject in development by Bea de Visser.
On hold.

- script BEA DE VISSER

TEASER

The animal that therefore I am
L’Animal que done je suis

What does the animal see when she looks at me? Thinking perhaps begins here, knowing that in the gaze of an animal is an existence that refuses to be conceptualized.

Awards 2019-2020

Cinemascoop 2.35, 10 minutes
Dialogue: English and French spoken version (Eng. subt.)
Producer: Bea de Visser, Anotherfilm
Worldpremiere IFFR: January 2019
Distribution LIMA, Amsterdam

website THE ANIMAL THAT THEREFORE I AM

to watch online at FRAME LIGHT

No horses on Mars
written and directed by Bea de Visser

Look into the eyes of a horse and know that you are looking at an intelligent and sensitive animal. If a horse is an animal, what are we?

“Why am I me and why not you?” (voice over ‘No horses on Mars’)

website NO HORSES ON MARS
Cinemascoop 2.35, 14"50 minutes