David Verbeek Director of ’R U There’

Over the last ten years, not so many Dutch directors have made it into the selection of the Cannes Film Festival. That’s why R U There, David Verbeek’s third feature, shouldn’t be overlooked, especially considering the success his previous works registered at many festivals. Basically, the director has grown under the watchful eyes of the Rotterdam Film Festival.

Their first official contact happened in 2005, while he was still a student at the Dutch Film Academy, with the occasion of the screening of his feature debut Beat, made with a 500 euro budget. In 2008 his second feature Shanghai Trance was selected for the Tiger Awards Competition and screened all over the world, including in 250 cinemas in China. While Verbeek modestly claims that the number is not so relevant with the country being so big, his was the first Dutch film benefiting from this treatment, which is certainly not something to be ignored for a director who was only 27 years old at the time of the release.

Chinese audiences and critics alike were amazed that such a film could have been done by a foreigner. A foreigner who lived in Shanghai for less than three years, and yet was not only able to assimilate and observe a completely different culture, but also to coherently reflect it in his works. Although the reason most of his films, like Melody-Z and Shanghai Trance, are placed in Asian settings is not necessarily due to his attraction towards oriental culture, but more likely because of his fascination about how things are moving and changing so fast there, as opposed to Europe.

R U There’s creator likes approaching subjects that are affecting younger generations, regardless of the country they are coming from. This explains the film’s discussion of virtualization, alienation, and the incapability of adapting to real life. Verbeek considers drama to be a necessary part of the creative process, even if this means reflecting the negative aspects of society. However, he doesn’t think of his films as having a pessimistic view, comparing the experiences of the characters to muscular pains: they are hurting but the result reflects a growth.

“Dutch people have always been very good at exploring and reaching behind borders to find subjects that are of global interest”, he explains. Internationality is what distinguishes David Verbeek’s work the most. Talking about the dependence on virtual spaces, for instance, is a global issue. The filmmaker’s ability to master an international style is probably a result of his artistic training. Starting to experiment with cameras at an early age, he went to New York for a 2-month workshop at the Film Academy, and ended up staying there for two more years. This period of exploration began paying off during his studies at the Dutch Film Academy. The Rotterdam Film Festival gave the final touch, facilitating an encounter with Asian directors such as Hou Hsiao-hsien, Tsai Ming-liang and Jia Zhang-ke.

Although aware that artistic filmmaking is a very competitive market, he intends to continue following this path. He not only believes that the public is in constant need of authenticity, but also that the amazing progress of computer games - as far as design, storytelling and artistic value are concerned - is going to put an end to purely commercial films. When asked whether his Un Certain Regard selection is likely to generate a series of Verbeek-style films among young Dutch cineastes, he replies that this is unlikely, given that his style is so particular. However he would like more young filmmakers to start considering the whole world as a source of inspiration.

David Verbeek himself never stops exploring. Whenever he is in a new city, he likes picking up his camera and simply wandering the streets. With his passion for travelling we are left wondering what new spaces his future projects will feature. Let’s not forget that 20% of R U There actually happens in Second Life, so don’t necessarily expect him to portray existing worlds!

By Maria Dicieanu


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