In the Beginning was the Eye (Im Anfang war der Blick)
"In the Beginning was the Eye" is, with its 45 minutes of abundant avant-garde research, the figurehead of the Director's Fortnight in Cannes 2003. At times a dreamlike vision, at times political, philosophical and even culinary, the film is technically perfect. The stunning sound and visuals and the hypnotic editing ensure that you don't get bored for a second...
Martin Granica, Repérages, Paris
Imagine a portrait of Austria created by Jan Svankmajer and David Lynch: This will give you an idea of Bady Minck's fantastic film work entitled "In the Beginning was the Eye". When a writer investigates Austria through the images presented by postcards, the landscapes around Erzberg and Salzburg become something between a dream and a nightmare.
Hans Schifferle, Süddeutsche Zeitung, Munich
Bady Minck re-evaluates irreverent worlds of images in the form of thousands of postcards whose ardently kitschy views of Austria are re-animated by the avant-garde filmmaker. Her cinematic narrative of a poet's search for images provides the framework for a critical reconquest of an idyllic Alpine landscape. Using breathtaking montage work and elaborate film technology, Bady Minck penetrates deep into the sultry colour of the postcards without succumbing to their camped-up charms.
Daniel Kothenschulte, Frankfurter Rundschau
The masterpiece of this year's Quinzaine des Réalisateurs in Cannes was undoubtedly Bady Minck's "In the Beginning Was the Eye". The film starts by gazing out of an eyelid, which opens and closes, turning us into voyeurs, ready to manipulate objects and facts. What follows is a very interesting work of memory. Neutral images and ideas of "home" are interwoven with suppressed recollections. The irony with which the film deals with stereotypes is reminiscent of the films of Syberberg and his way of playing with clichés. We will surely hear from Bady Minck again!
Raphaël Bassan, Bref, Paris
The most subtle and strange film shown at the IFDA Documentary Festival Amsterdam tells the tale of a poet who is pondering the eternal questions of origin and meaning like a modern Faust. Just like the picture postcards the film has two sides: behind the idealised image on the front hides a "Heil Hitler" while voices whisper to us stories from a different kind of Austria.
Dana Linssen, NRC Handelsblad, Amsterdam