Neil Hollander might be best known for his movies where he talked about the connection between death and love. Already with his first film “The last sailors” Hollander insisted on the unity of love and death, and the film H for Hunger ends with their opposition, with a pending outcome. The ambivalence of the relationship between love and death in Burma: Human Tragedy becomes a part of the documentary truth of life, believed Neil Hollander, always noting that his films are an “uninterrupted dialog about love and death and that the two poles of human destiny are in a correlation inside each being”.
I remember when we were sailing the Pacific in a boat just before the sunrise, with glasses of champagne in his hand, listened to Hollander’s treatise on freedom, another his great theme:
“There is in life a fundamental contradiction: a sense of humanity is freedom; However, man can not be free. My film projects are so collectors of imaginary freedom in an unfree world that is not worth accuse or defend. I made a film about human freedom. I tried to show the links between freedom and poetry.”
Directing the imagination of Migration, 40 years ago Hollander was investigating a “stream of consciousness cameras”. Therefore his films – as they will, hopefully, show a retrospective of Hollander’s films at the festival of author’s work “View to the World”, this spring in New York – they posses a kinesthetic attraction which Neil Hollander discovered in the great books of Dostoevsky, Bulgakov, White and others.
Neil Hollander is a true pioneer of our new film (the apparent similarity with the concept of author film), close to the audience, brought into the world. He believed that cinematography of the author presents an engaged attitude toward his work in all phases of preparation, implementation and exploitation of the film, he wanted to create movies that will be unique aesthetic sense, from the idea to the tonal copies.
“No matter how brutal it may seem, for the prosperity of the art of film making real progress, the best is the most merciless system – one that includes all the same opportunities, but also in a same measure requires responsibility.” According to a review by Paris “Le Monde”, Neil Hollander embodied the rise of cinema in his country and abroad. He was also among the greatest contributors to the reconstruction of European filmmaking. He thought it was the success of “like a boomerang touched the forehead,” that he hastily turned back, even those with whom he was close by perception.