Programma AFFR 2018

Met trots presenteren wij u de tiende editie van het Architectuur Filmfestival Rotterdam. Wederom heeft onze redactie - bijgestaan door een team van kritische kijkers - een scala aan films over stad en architectuur gescout, geselecteerd en in een prikkelend programma bijeengebracht. Portretten van meer of minder bekende ontwerpers, activistische essays over urgente problemen, hilarische reflecties op lang vervlogen tijden...

Lees meer

Opening Night

Op woensdag 10 oktober start AFFR zijn tiende editie met de Europese première van The Experimental City (Chad Freidrichs, 2017), een verbluffende documentaire over The Minnesota Experimental City, op zoek naar de stad van de toekomst. De film lijkt relevanter dan ooit en sluit perfect aan op het AFFR 2018-thema Building Happiness. Na de film is er een Q &...

Lees meer


Alle informatie voer losse tickets, Festivalpas en 'Architectenweb Best of AFFR'

Lees meer

Building Happiness

Het thema van AFFR 2018 is ‘Building Happiness’. We leven in een tijd van hoogconjunctuur: er wordt weer op grote schaal gebouwd, ontwikkeld en gespeculeerd; klinkende groeicijfers zijn de norm. De toeristenindustrie draait op volle toeren en steden met aansprekende architectuur worden overspoeld door een miljoenenpubliek. Ondertussen groeit het besef dat ons vooruitgangsdenken niet meer is los te zien van...

Lees meer


De tiende editie van AFFR vindt plaats van 10 t/m 14 oktober 2018. Na de openingsfilm in een nog nader te bepalen locatie, vindt het festival de andere dagen onderdak in LanterenVenster Rotterdam. Ook dit jaar verwelkomt AFFR tientallen internationale filmmakers en zal het naar verwachting worden bezocht door 7500 liefhebbers van film, stad en architectuur van over de hele wereld.

Lees meer

Film – Stad – Architectuur

AFFR onderzoekt de relatie tussen film, stad en architectuur door het programmeren en vertonen van films en door het organiseren van inleidingen en debat.

Lees meer


De stichting Architectuur Filmfestival Rotterdam (AFFR) is opgericht in 2000 en organiseerde dat jaar het eerste architectuur filmfestival ter wereld. Er volgden volwaardige edities in 2001 en 2003. In 2007 maakte AFFR een hernieuwde start en in 2009 breidde het festival flink uit in bezoekersaantallen en programmering.

Lees meer


Hieronder vindt u meer informatie over stichting Architectuur Filmfestival Rotterdam.

Lees meer



Lees meer
  • Fondsen, Sponsoring & Partners AFFR wordt mede mogelijk gemaakt door een aantal publieke en private fondsen, door een groeiend aantal sponsoren en door een brede range aan onderwijs-, programma- en mediapartners. Lees meer
Naar festival

“The film is not an anthem to the building”

During his travels in Russia, photographer and filmmaker Andrei Rozen stumbles upon a fascinating building in the city of Novgorod the Great. Immediately, he is struck by this otherworldly structure. Made of concrete, with its weird, irregular shapes the building isn’t like anything around. It’s looks like an alien spaceship that has landed on earth. A taxi driver tells him that he is looking at the Novgorod Drama Theater. Rozen later discovers that the building was erected in 1989 to create a cultural environment that would prevent young people from leaving Novgorod region to large cities like Saint Petersburg and Moscow.   More than ten years after Rozen‘s first meeting with the building, AFFR screens his film The Novgorod Spaceship. AFFR got in touch with Andrei Rozen to get to know more about the making of the film.  

“The film is not an anthem to the building”

Jord den Hollander & Jeroen Slot 

How did get to know the Novgorod theater
Between 2001 and 2006 I was living in Moscow and was working as photographer. In 2006, shortly before moving back to United States, I was shooting an assignment for Vogue magazine Russia. They had invited fashion guru Andre Leon Tally to come to Russia and I had to photograph him on his travels. They got him a private jet. We flew around Russia and spent a few days in Novgorod the Great. There, I photographed Tally in front of kremlins and many churches. 

On a day when Tally was too tired to work, I went around Novgorod myself. I drove in search of historical monuments to photograph. Suddenly the car made a turn and there was this incredible, otherworldly structure. That’s basically how my relationship with the building started.

When did you decide that it was a good topic for a film?
It didn’t really happen right away. Initially, I didn’t want to do anything with the building. One day I proposed a Swedish journalist, with whom I previously worked on Moscow City Guide, to make a similar guide, but this time for a small for a provincial Russian town, like Novgorod the Great. She agreed. Three month later we met in St Petersburg and went to Novgorod. The theater suddenly snapped back in front of us, and it was the only thing we were both interested in Novgorod. I took a lot of pictures of both, exterior and interior of the building. 

In the end the Swedish journalist didn’t write a thing. Half a year later I realized that the project would simply disappear if I didn’t do something. At that time, I also discovered that the architect wasn’t the Russian rock star Andrei Makarevich like everyone thought. As a result of my interviews with real architect of the building, Vladimir Somov, I wrote a story and later self-published a book with pictures. In 2009, I applied for a grant to make a film about the theater. Luckily, I got it, and in summer 2010 I went to Novgorod and Moscow. I shot the film in one month and two weeks. 

You have used a very personal approach to tell the story. That works really well.  
I tried many ways. The editing of the project took years. It was of the hardest things I ever accomplished. Making a film about a building is really not easy. Not that I ever thought it would be. 

Did you work with a script?
It didn’t have a script. The story I wrote earlier was the research foundation for the film. The film is not like the story I wrote. That is more about discovery. In the film, I go back to my meeting with the Somov in 2008/2009. He stated that art is made for the individuals, not for the ignorant masses. I was appalled by his elitist attitude. In the film I bring up that subject of the integration of the building in Novgorod, whether it belongs there or not and who it was built for. It all came out of his response.  

Were you surprised to find the architect in the state he was in? He isn’t like the archetypical architect who lives in a posh house surrounded by design furniture. This architect looks more like a 19th century Russian writer. 
I remember meeting him for the very first time in a metro station in Moscow. He was like a hippie dude. He had his hair tied back in a ponytail and was wearing Birkenstocks. Under his arm he carried a tattered folder with his drawings.  I could see right away that he wasn’t coming from any posh environment. He looked like a poor man. I didn’t see his place until I went to visit him. He’s quite a character. 

He certainly wasn’t working for his fame or acclaim. But he is a very ambitious man though. He is a totally self-centered, typical egoistical artist. He says he never cared about money and in the end, he paid the price. Even in the soviet days there were maverick architects. They were very expensive and sought-after. He obviously wasn’t. He was a functionary architect, working for a company that was designing theaters all over Soviet Union.  

In the film, the theater is disliked by the people of Novgorod. Only the drunks, punks and skaters hang out at the theater. Do you see them as the real connoisseurs in Novgorod?
I was torn. In the film, I took a position, that young people’s activities around the theater was something negative, in a sense. The initial idea of the theater designed to improve the cultural climate in Novgorod, was diminished by the kids who were skateboarding and sniffing glue.  At the same time, I thought that their presence near the building was really great. If I were their age that is exactly where I would hang out. The place is just cool. It proves that Somov’s theater building carries a very special energy, unlike any other architectural structures in Novgorod.  

The film is not so much an anthem to this building. No architecture exists in a vacuum. It’s more an analyses of the society that surrounds the building and lets it fall apart. 

Now that you’ve been working for so many years on this film, do you want to make more films about buildings? No. I’m very scared to approach anything that has to do with architecture. It’s just so difficult. To make a film about an architect is a no brainer. But the building, and the plight of the building as a metaphor of the society, no. I think that from now on I will with more humanitarian subject matters. 

Architectenweb Best of AFFR

After the huge success in 2015, AFFR is teaming up again this year with media partner Architectenweb to screen the five best festival films in succession on the final day of the festival. Dive into the world of film, city and architecture. All-in tickets for the Architectenweb Best of AFFR are on sale on the website and at the AFFR desk. he Novgorod Spaceship by Andrei Rozen is part of this program.


film • stad • architectuur 9 - 13 okt. 2019
Ja, ik accepteer cookies

AFFR gebruikt cookies en vergelijkbare technologieën (cookies) onder andere om u een optimale gebruikerservaring te bieden. 
Ook kunnen we hierdoor het gedrag van bezoekers vastleggen en analyseren en daardoor onze website verbeteren.

Cookies van derde partijen maken daarnaast mogelijk dat u informatie kunt delen via social media zoals Twitter en Facebook. Meer informatie hierover vindt u in ons cookie-statement.