Who do you look up to?

‘I think the most important person I look up to is Céline Sciamma, a French filmmaker. She does feature films, coming of age films and romantic dramas that are all political, but she presents it in a non-political way. In interviews she always says that by making a film and only putting women in it, that that’s already political. By making it about two gay women in love, it’s already political to me.’ 

 

What is your favourite film?

‘I love ‘’Portrait of a lady on fire’’ by Céline Sciamma. And ‘’Caroll’’, which could count as a fashion film depending on the way you look at it. I’m into the genre romantic drama and historical drama. I really like reality, real lives and real people. 

 

What is your least favourite part of filmmaking?

‘I would definitely not want to be a runner, or something with lights. It’s a lot of lugging and lifting.’ 

 

Do you have a goal for the future that you would want to accomplish when it comes to filmmaking?

‘I would love to be able to make feature films. I want to reach big audiences, because I think the way to normalize something is if many people see it. I would love to contribute to this and be a positive voice in the world of filmmaking.’ 

 

And what about photography?

‘My photography projects are also a way of storytelling just in a different way because it’s with stills. My heart is with filmmaking, but I learned so much from photography about the connotation of pictures together on how to tell a story. It makes you view an object or person differently.’ 

 

Are you currently working on a new project?

‘I’m currently writing my bachelor project and doing another school project next to it. The school project is also about a love story of which I’m now in the post production phase. My bachelor project is going to be about a girl and her mom who recently passed away. She now lives alone and her girlfriend visits her every day. It’s about viewing her grief  through the eyes of her girlfriend.’ 

For more info on current projects of Rosalie, visit https://rosalievandebiezen.myportfolio.com/work. 

 

This is a publication from Garment Magazine, made by students from the Amsterdam Fashion Institute. You can find The Party Dress issue in stores now!

Garment Talks

Rosalie van de Biezen, filmmaker and screenwriter, is a student at the film academy. After following an exchange programme on fashion films in Denmark, she realized the importance of garments in film. 

June 24, 2021

Text: Sanne Alofs and Vera van de Biezen

Photographer: Joana Kazmaier

Rosalie is a filmmaker and screenwriter, but the writing process is the most important part for her. Her work revolves around the themes of feminism, love and intimacy. She loves writing about her own experiences and things she goes through. But she also keeps discovering a lot of those themes since she’s studying. Her films always have an underlying layer of whispering activism, but she is not screaming or pointing fingers. She tries to do it in a non-political way. In this way she hopes to contribute to a better representation of minorities, with her main focus on the LGBTQ+ community. She brings the things she struggled with throughout her coming of age, to the screen. 

The core of your work does not revolve around fashion. What made you want to explore the world of fashion film?

‘I did a minor in fashion film in Denmark last year, which was really exciting for me but also a bit scary. I didn’t know a lot about fashion because it never played a huge role in my life. The minor sounded very interesting so I decided to just do it. It was really a learning phase for me because fashion most of the time is about aesthetic visuals and getting that part right. I think fashion is a really important part of any film because it says so much about the story. You can tell a lot through the clothes that people wear.’ 

 

Can you tell me about your fashion film ‘Voicemail’?
‘I recently wrote and directed ‘Voicemail’. I visualized a heartbreak story about this girl sitting alone in her room wearing a party dress, ready to go out but never really going out. The drama of the concept of the party dress combined with the sadness of her being is what inspired me. The dress represents a sort of mirror disco ball. She kind of dissolved into the room. She became the room.’

Rosalie van de Biezen

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