Beijing 2003
2004

Representation Score
Good
1996
Director
Johan van der Keuken
Runtime
245 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Johan van der Keuken’s documentary reframes Amsterdam as a multicultural tapestry rather than a single European entity. By highlighting the ability to act of diverse inhabitants through specific cultural rituals and global influences, the film disrupts traditional depictions of Western urbanity. The work excels in racial and ethnic representation, presenting a cosmopolitan atmosphere that prioritizes non-Western perspectives and rituals. It moves beyond superficial inclusion to offer a sophisticated, pluralistic view of society. However, the film’s observational nature means it does not focus specifically on gender hierarchies or LGBTQ+ identities. While it captures a cosmopolitan atmosphere, it does not explore these specific social dimensions deeply.
Category Breakdown
The film presents a broad view of urban life without focusing on specific LGBTQ+ storylines or critiques of the assumption that everyone is straight or cisgender. It captures various cultural expressions but does not delve into LGBTQ+ themes.
The narrative centers around a motor courier, but it is unclear whether the film actively challenges traditional gender roles or simply observes them.
Amsterdam is portrayed as a global village with residents from many backgrounds. The inclusion of a Ghanaian mourning ritual shows significant involvement of non-Western subjects and diverse identities.
The film challenges Western-centric narratives by emphasizing a pluralistic view of urban life. It moves away from a single national identity to highlight a more interconnected, post-colonial perspective of city life.
There is no specific evidence suggesting that disability is a central theme. Characters with disabilities are not featured prominently or given specific roles.
Present on Screen
Limited or Absent
Official Synopsis
"I am far away on a distant journey through my own city", filmmaker Johan van der Keuken says at the end of his four-hour portrait of Amsterdam. The city is presented as a place where people from all corners of the world live, who all exert their cultural influence on the life in the city. With a motor courier as his central figure, the filmmaker introduces the audience to birds of different feathers. We see diverse cultural expressions, like the house scene, the entry of St. Nicholas and a Ghanese mourning ritual. The binding factor in the film is the concept of 'travelling', in other words Amsterdam as a global village. The camera travels through the film in three ways: over land, over water (canals) and through the air.
2004

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