Theo van Gogh

A black comedy set in the 1960s in a small Netherlands community, populated by a cast of eccentrics, all of whom hold a range of sexual obsessions and frustrated desires.

Overstimulated by flamboyant props and distracted by extravagant queens pacing up and down the rooms and corridors, one easily forgets the 18th-century country house serving as the backdrop in Tadzio. Yet this imposing bourgeois mansion was the starting point of it all, as well as the only constraint the directing duo of the short film had to consider. An eminent Dutch cultural critic, Els Hoek, challenged several artists to feature this particular place in an audiovisual artwork. She provided them with a generous budget and left them to do the rest. Three films emerged from her idea – Tadzio among them.

Balkenende's storm Jan Peter Balkenende discusses his premiership in detail for the first time. For eight years (2002 - 2010) he held the highest political office in The Netherlands.

Documentary by BNN about the murder of politician Pim Fortuyn, in which the facts surrounding the murder are viewed as parts of a conspiracy against him. On May 6, 2002, politician Pim Fortuyn was murdered at the Mediapark in Hilversum. Almost immediately thereafter, the perpetrator, Volkert van der G., was arrested. Nevertheless, conspiracy theories still persist claiming that Van der G. was aided in his act. These theories are unveiled using archival material, reconstructions, and animations.

The toxic, suffocating relationship between a dominant mother and her estranged son, Lazlo. Lazlo lives a reclusive life in a squat, spending his time painting taxidermied animals and using heroin. When his mother is involved in a serious accident and calls for him, he is forced to confront the world he tried to leave behind, leading to a grim collision between her delusions of control and his self-destructive addiction.

In the early spring of 1997, Theo van Gogh conducted a series of interviews with Willem Oltmans, the man who at the time loudly proclaimed that he had been obstructed by the State of the Netherlands for more than forty years—in particular Foreign Minister Luns, who called Willem Oltmans "the single-engine mosquito." For years, his lament was barely heard in the Netherlands. But around the mid-nineties, a different wind seemed to be blowing, and Oltmans gained an increasingly wider audience. For it turned out he was right; according to hundreds of secret coded telegrams, he had been obstructed for years in an extremely bizarre manner.

A middle-aged journalist interviews the real-life Dutch star Katja Schuurman, in her own loft. Pierre, the journalist is annoyed at being given such a fluffy assignment, as he is normally a political correspondent. Initially he has no questions for Katja, but soon they are coaxing their darkest secrets out of each other.

The film opens with a rubber-clad woman stepping sensuously out of a limousine. The camera lovingly closes-up on her stilletoed foot... She enters a dark desolate warehouse, and meets two men, who proceed to chain her up and worship her body. Originally projected on three screens simultaneously. Music by legendary noise musician Merzbow.

While still living in Amsterdam under his birth name 'Ian Kerkhof,' Aryan Kaganof co-penned the script for his friends Victor Nieuwenhuijs and Maartje Seyferth's debut feature Venus in Furs (1995), which is undoubtedly the most faithful cinematic adaptation of the S&M-themed Leopold von Sacher-Masoch novella of the same name. A number of years later after moving back to his homeland of South Africa, Kaganof directed his own tribute to Sacher-Masoch's classic work.

The film tells the story of six mental cases, trying to get rid of society's norms and values by kidnapping Gerard van Dongen, a well-known TV host. During an improvised TV show, the terrorists confront this Van Dongen with their darkest thoughts and emotions, resulting in violent excesses and extreme sexual behavior.

On the occasion of Queen Beatrix's twenty-fifth anniversary of her reign. In conversations with Professor of Legal Philosophy Dorien Pessers, the Queen reflects on her role in office and discusses the various aspects of her position. The conversations are interspersed with interviews by Pim van Galen with Dries van Agt, Ruud Lubbers, Wim Kok, and Jan Peter Balkenende, the four prime ministers with whom the Queen has worked since 1980, and with archival material from the past twenty-five years. The broadcast is produced by NOS Actueel and hosted by Maartje van Weegen.

A young Dutch couple gets new English neighbors next-door to their modern home. Of course, everyone is not who they seem.

Twenty-five films from twenty-five European countries by twenty-five European directors.

Because of her incestuous past Charley (Marie Kooiman) refuses to talk. Together with her friend she invites men to her house, seduces and poisons them and removes their male parts. Then it is revealed that she can talk after all.

Because of her incestuous past Charley (Marie Kooiman) refuses to talk. Together with her friend she invites men to her house, seduces and poisons them and removes their male parts. Then it is revealed that she can talk after all.

After the death of her husband, an elderly widow rediscovers her vitality and romance when she falls in love with a fellow nursing home resident.

After the death of her husband, an elderly widow rediscovers her vitality and romance when she falls in love with a fellow nursing home resident.

The new bank manager tries to get rid of two difficult bank employees by playing them off against each other in a devious way. Looking for weaknesses, acquired privileges are withdrawn and one employee is used to catch the other committing fraud. The pressure continues to mount. Then a former customer is brought in, a man bent on revenge who still hasn't gotten over a bankruptcy from the distant past.

The new bank manager tries to get rid of two difficult bank employees by playing them off against each other in a devious way. Looking for weaknesses, acquired privileges are withdrawn and one employee is used to catch the other committing fraud. The pressure continues to mount. Then a former customer is brought in, a man bent on revenge who still hasn't gotten over a bankruptcy from the distant past.

A bartender watches with amusement as two strangers meet and duel verbally in his bar. Katya, a former dancer, is trying to forget the death of her young daughter. Pom, a comedian known for his verbal thrust and parry, tries to charm, shock and disgust his date in turn.

A bartender watches with amusement as two strangers meet and duel verbally in his bar. Katya, a former dancer, is trying to forget the death of her young daughter. Pom, a comedian known for his verbal thrust and parry, tries to charm, shock and disgust his date in turn.

A bartender watches with amusement as two strangers meet and duel verbally in his bar. Katya, a former dancer, is trying to forget the death of her young daughter. Pom, a comedian known for his verbal thrust and parry, tries to charm, shock and disgust his date in turn.

Chris Luger, a fascistic psychopath from The Hague, kidnaps the simple-minded daughter of a millionaire. Her dad refuses to pay the ransom.

Chris Luger, a fascistic psychopath from The Hague, kidnaps the simple-minded daughter of a millionaire. Her dad refuses to pay the ransom.

In the early spring of 1997, Theo van Gogh conducted a series of interviews with Willem Oltmans, the man who at the time loudly proclaimed that he had been obstructed by the State of the Netherlands for more than forty years—in particular Foreign Minister Luns, who called Willem Oltmans "the single-engine mosquito." For years, his lament was barely heard in the Netherlands. But around the mid-nineties, a different wind seemed to be blowing, and Oltmans gained an increasingly wider audience. For it turned out he was right; according to hundreds of secret coded telegrams, he had been obstructed for years in an extremely bizarre manner.

No synopsis available yet.

A middle-aged journalist interviews the real-life Dutch star Katja Schuurman, in her own loft. Pierre, the journalist is annoyed at being given such a fluffy assignment, as he is normally a political correspondent. Initially he has no questions for Katja, but soon they are coaxing their darkest secrets out of each other.

A middle-aged journalist interviews the real-life Dutch star Katja Schuurman, in her own loft. Pierre, the journalist is annoyed at being given such a fluffy assignment, as he is normally a political correspondent. Initially he has no questions for Katja, but soon they are coaxing their darkest secrets out of each other.

Literary adaptation: an artist returns to the stifling atmosphere of the small Dutch village where he grew up, a place marked by morbidity, suppression of emotion, Calvinist hypocrisy and a suffocating patriarchy.

Literary adaptation: an artist returns to the stifling atmosphere of the small Dutch village where he grew up, a place marked by morbidity, suppression of emotion, Calvinist hypocrisy and a suffocating patriarchy.

A fictional version of the events that led to the assassination of the Dutch politician Pim Fortuyn on May 6, 2002. The movie is based upon the book "The sixth of May" by Tomas Ross.

The film tells the story of four fictional characters played by a single actress wearing a veil, but clad in a see-through chador, her naked body painted with verses from the Koran. The characters are Muslim women who have been abused in various ways. The film contains monologues of these women and dramatically highlights three verses of the Koran that give authority to men over women, by showing them painted on women’s bodies.

The film tells the story of four fictional characters played by a single actress wearing a veil, but clad in a see-through chador, her naked body painted with verses from the Koran. The characters are Muslim women who have been abused in various ways. The film contains monologues of these women and dramatically highlights three verses of the Koran that give authority to men over women, by showing them painted on women’s bodies.

The film tells the story of four fictional characters played by a single actress wearing a veil, but clad in a see-through chador, her naked body painted with verses from the Koran. The characters are Muslim women who have been abused in various ways. The film contains monologues of these women and dramatically highlights three verses of the Koran that give authority to men over women, by showing them painted on women’s bodies.

Sarah, 30, single, well educated, likes art, places a voice ad for phone sex, inviting replies from men under 35, sturdy and sensual. Wilbert, a chubby middle aged architect, leaves a message that he is Thomas, 32 and well formed. A week later, she phones. She likes his voice, he likes her laugh, so once a week she phones him (he's not to know her last name, where she lives, or her number). Portraits emerge of humor and sadness. He presses for details of her life and tells her about his work; she wants these Thursday calls to be fantasy and release, separate from the rest of who she is. The film dramatizes these tensions of lies and truth, connection and distance. Written by