Magie van de montage

Director John Appel considers a certain scene with André Hazes, which he shot for his portrait Zij gelooft in mij, as one of his best. But it was not included in the film. This killed darling formed the starting point of Appel’s cinematic essay about documentary editing. Which pros and cons are weighed in the editing room, and how far can you go with cutting and moulding? Different editors, both budding talents and old hands, shed light on the musicality, beauty and art of the editing process, but also on the struggle and frustration involved in the job. From Gys Zevenbergen and his opera-inspired approach to Het nieuwe Rijksmuseum to Menno Otten’s experimental dance documentary Warming Up.