What comes through is the consistency not just of Van Hove’s style – he has developed an increasingly sophisticated use of live video on stage – but also of his themes. Many of them also juxtapose scenes from the original films with corresponding footage of the stage versions. The rooms contain original props, costumes and sound recordings – played on directional speakers – as well as photographs and notebooks. You walk from the detached, cool-blue room memorialising their Antonioni Project – based on three films by the Italian director – and on to the messy domestic realm of Bergman’s Scenes from a Marriage, where you sit on scattered cube chairs to watch footage of Van Hove’s actors unleashing accusations, festering resentments and murderous dreams in his sprawling adaptation. In the museum’s vast gallery space, the pair have created a number of immersive rooms each with its own distinctive mise-en-scène to evoke the cinema-inspired stage productions. Encroaching claustrophobia … the show’s Obsession room.
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