Where and when does intimacy start? Where does it end? Join us for a philosophical journey of intimacy through film with film journalist Kevin Toma.
About series ‘Love & Sex in Time of Social Safety’
What is it to “really” love someone? Where does intimacy start? How to have sex these days? How to flirt properly? What is a good one-night-stand? Can one have more than one sexual partner or romantic relationship without being shamed for it? Is it okay to not want to have sex at all? In this series, we explore together what intimacy, love and sex might mean nowadays, in a time that has put both sexual liberation and social safety high up on the agenda. What might seem as a private domain is, after all, also highly political: a place where social norms of patriarchy, heteronormativity and monogamy play out, as well as a potential site of liberating from those, experimenting with other forms and initiating social transformation. How can we do love and sex in a way that stays away from sexual harassment, unwanted intimacy, sexism, trans- and queer phobia and other forms of discrimination? How can we do better justice to the huge diversity of our own and each other’s erotic and romantic preferences, desires and wishes? Let us talk about love and sex!
A Filmic Philosophy of Intimacy
Film fragments, in conversation with film journalist Kevin Toma (Volkskrant)
Tonight, film journalist Kevin Toma will take us on a philosophical journey of intimacy through a series of film fragments and invites you to explore together the characteristics and boundaries of intimacy. A sensuous touch, a penetrating gaze, a moment of intense proximity, a deep sigh, a hand kerchief with embroidered initials, a caressing smile of concern. What better way to explore intimacy than through film? A vividly illustrated archive of the manifold ways in which we explore, experiment with, cross, and reinvent the boundaries of being intimate with each other. Where and when does intimacy start? And where does it find its end? When does it cross a line, even though fictitious, and how to relate to that as spectator? And what might it tell us about our own experiences of intimacy?
Kevin Toma (Sittard, 1974) studied Film- and Performance-Studies at Radboud University Nijmegen. He started his career as movie reviewer for De Filmkrant. Starting 2007 he works as a movie reviewer for De Volkskrant. Furthermore he composes modern music for, and accompanies silent movies. He wrote new scores for and accompanied live among others Sunrise (1927), Häxan (1922) and Berlin, die Sinfonie der Groβstadt (1927).