Boudewijn Tarenskeen

After seven months of pregnancy a husband and wife learn that their unborn child won't survive for long.

After a large airliner crashes on a deserted island killing most of the passengers, two women, five men and a dog survive: an Eastern European, a Canadian lawyer, a French biologist, a prosperous Scottish financier, a young American, an extrovert Australian and a major in the British army. Hopes of rescue fade as the survivors come to realise that the world may have suffered a major disaster.

Director Leon de Winter has taken a thriller with political and psychological overtones, and scrambled it into a series of vignettes that are mixed-up in time and in location, thereby dashing any hope of following the story. A journalist goes to a southern European country to interview a well-known terrorist who has refused to stop his activities even though the revolution he fought for ended successfully five years earlier. Questions are raised about adopting violence as a way of life without at first realizing it and about the seeming impossibility of raising the consciousness of backwater cultures. Perhaps because of the way the story has been filleted into fragments, characters like the journalist and terrorist do not have enough continuous screen time to build up their individuality, a second factor that makes it difficult to become involved in the drama.

After his wife Marjan has died in a car crash, Philip de Wit becomes a total wreck. Only after months does he return to a more or less normal life and even then he only works in his wife's bookstore. A year later Eileen walks in the store, a girl from Northern Ireland with her baby in her arms. When Philip sees her, he's dumbfounded, for she's the spitting image of his dead wife. Obsessed with her, he goes and tries to find her again, but he soon finds out that he's not the only one who's looking for Eileen.

Peter is a young journalist who lives and works in Amsterdam, a city with quite a high density of cafés. Peter has a dynamic personality, perhaps a bit too dynamic for himself and his surroundings. He is unaware of the impact his behavior and drinking habits have on others. This leads to conflicts, even with his loyal girlfriend Nanny and his best friend Harry. Will Peter ultimately choose love and friendship or his addiction?

The point of departure for this film is the 1981 composition De Tijd by Dutch composer Louis Andriessen. Van der Keuken leaves the music undisturbed as an autonomous soundtrack and has the images engage in a sort of battle with it. These images are associations, fragments of events, scenes and situations. The film is preceded by a text by Bert Schierbeek.

Feature film about the life of Aletta Jacobs (1854-1929). Aletta Jacobs knows from an early age that she wants to become a doctor. She asks Thorbecke to allow her to attend university and, after completing her studies, becomes the first female doctor in Amsterdam. Here, she focuses in particular on sexual problems in women and campaigns for universal suffrage. Director Nouchka van Brakel appears in the film as an interviewer who questions contemporaries about the life and work of Dr. Jacobs. The interviews give an impression of the flood of negative reactions that the feminist provoked. However, when Aletta looks back on her life at the end of the film, many photos and letters show how much she was ultimately appreciated.

No description available.

Stranger at home (1985) is a documentary about the return to Jerusalem of a friend of Van den Berg, the Palestinian artist Kamal Boullata, who had not seen his home country for a very long time. The friends, making the trip together, find themselves more and more involved in a painful confrontation: Jew versus Palestinian.