Hans Oosterhuis

Israel, 1956: Jewish teacher Rachel Stein rather unexpectedly meets an old friend at the kibbutz. It brings back memories of her experiences in the Netherlands during the war, memories of betrayal. In September 1944, Rachel's hiding place is bombed by Allied troops; she makes contact with a resistance member and joins a group of Jews to be smuggled across the Biesbosch to the freed South Netherlands. Only Rachel escapes a massacre by patrol Germans, and is rescued by a resistance group under the leadership of Gerben Kuipers, whose son is captured trying to smuggle weapons. Kuipers asks Rachel to seduce SS-hauptsturmführer Ludwig Müntze, a mission that she will soon learn that the boat attack wasn't a coincidence.

Psychodrama. Black and white images of a mining area under the influence of a highly orthodox Catholicism in the 1930s are interspersed with color images of a protest action to save a small church.

Although it was actually an impersonal commissioned film, the director's style is clearly recognizable. Once again he manages to make something that is normal very strange: the dancing people in costumes are filmed in such a way that they look bizarre and absurd. Jan de Bont's camerawork shows a series of color images of dancing people, edited to the rhythm of the music. Halfway through the film, a lonely clown can be seen among the dancing crowd, accompanied by sad music. This clown is played by Ditvoorst himself.

A respected police commissioner has a reputation as a opera lover, but by night he also enjoys plunging into the transvestite scene. In addition, he harbors a longing for his very own sister. When he learns that his wife has been murdered, he tries to implicate the set designer who has designs on his sister.

A man from the province looks back on his graduation year, some teachers, the parental home and especially his father.

A conscript is given leave to visit his wife who has been admitted to hospital after a road accident. Dutch student film in the vein of the French Nouvelle Vague, praised at the time by directors like Godard and Bertolucci.