Jaap Hoogstra

Accidentally still in possession of his best friend's pocket knife after they move all the way to a different city, a young boy sets out to return it.

Hugo Claus rewrote and directed Friday as the cinematic version of his original 1969 play of the same name. Just as in the play, the story begins with the theme of incest, as the father Georges (Frank Aendenboom) returns from serving his jail sentence for that crime. Unlike the earlier play, however, the film does not emphasize that aspect of the story. When Georges gets home he finds out that his wife Jeanne (Kitty Courbois) has had an illegitimate child by a younger man, Erik (Herbert Flack), and now both of them must somehow try to return to a normal life, given their only too obvious lapses in moral judgment. As the husband and wife try hard to accommodate each other's failings and start to get to know each other again, Erik comes back into the picture. Now the three of them must resolve the deep-seated conflicts that brought them to this emotionally-wrought juncture of love and betrayal.

During the second world war law student Hannie Schaft is a member of the Dutch resistance movement.

One day, Doctor Kroch (Henk van Ulsen) receives a chest full of gold, accompanied by a half-illegible letter pleading for help. The doctor pays no further attention to it; the patient, after all, is asking for a cure for... gold fever. When the chest is later stolen by bandits Oenk (Tabe Bas) and Boenk (John Lanting), Doctor Kroch starts to think there might be more to it after all. He decides, together with his servant Valet (Henk Molenberg), to try to find the sender of the letter, the Duke of Woestewolf (Ton van Duinhoven). During his journey, the doctor is warned by Esmeralda, a gypsy fortune-teller (Elsa Lioni). Nevertheless, he continues his journey. “Ghosts do not exist. Everything can be explained by science,” the doctor claims. But the closer he gets to Woestewolf, the stranger his adventures become.

Lieve Jongens explores the sexual fantasies of a middle-aged writer and the handsome young men who dominate his life. Wolf, a successful writer of romantic novels, is plagued by self doubt and writer's block. Though pleasant looking and well-preserved, he fears age will rob him of the youthful companionship he so desperately craves. With the help of his equally randy and manipulative young sex partner, Wolf plots to seduce the gentle Muskrat from the arms of a much older lover.

A man of independent means oddly suited to survival amid the chaos of modern life, Inni Wintrop is a committed dabbler, content to casually wander the streets of Amsterdam, follow the dips and rises of the stock exchange and commodities market, speculate in art and love, and write a newspaper horoscope column. But his inconsistencies are interrupted when he meets two men who are the epitome of order and regulation.

A series of four stories written by the Dutch writer Heere Heeresma, interpreted by four different directors. A confirmed bachelor bumps into his secretary after work. An old man just wants to be left alone at Christmas time. A former sailor yearns to get back to the sea, away from his clarinet playing wife. A shopkeeper in a rowboat gets into an argument with a postman on a bicycle.

Otanes is certain that Smerdis, King of Persia is an impostor. He gathers together a group of people to stage a coup, only to face the question of which one of them will be worthy to take the throne.

Diane and Dora are two prostitutes who begin to rebel against their lot in life. Meanwhile, in another part of town, a murderer is at large.

Hes, an uptight and disaffected social worker reaching retirement, discovers a young woman, Anna, in the closet of an acquaintance who has committed suicide. Realizing that she has been kept in the apartment all her life, he moves in and helps her comes to terms with the complexities of the real world.

Sick and tired of living in poverty in post-war Germany, Fred Bogner has left his wife Käte with their three children. They continue to meet on a casual basis every time Fred can find money enough to book a hotel room. Based on the German novel 'Und sagte kein einziges Wort' by Heinrich Böll.

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.

Tim, now a respectable family man, runs into his old buddy Bodde. Bodde convinces Tim to go out with him under the motto: "Laugh, laugh, laugh!" Tim calls his wife to tell her "he'll be a little late," while Bodde keeps persuading him to stay with him for a new deal or a wonderful plan, and so they roam the country. Along the way, they swindle money from everyone and meet the young, beautiful Aafke. Isn't Tim too old for all this?

No description available.

The Dead Man returns, but it's too late to save us. We are already dead.

A family sits at the dinner table without talking to one another with only the radio playing in the background and increasingly the awkward silence among the family members builds up to something unexpected.

The full title of this Dutch film is Pervola: Tracks in the Snow. A stockbroker moves away from his home village of Pervola and puts his two sons in charge of his business. Older brother Hein (Bram van der Vlugt) cheats younger brother Simon (Gerard Thoolen) out of his share, claiming that Simon was disinherited because he is homosexual. Hein grows powerful, while Simon seems to weaken with each passing day. Flash-forward several years: the dying stockbroker calls his sons to his side. Faithful Simon agrees to dad's wishes that he be buried in Pervola, but Hein doesn't want to go to the trouble of transporting the body; he finally agrees to help Simon, out of fear that his brother will learn of his long-ago treachery. While arduously journeying to Pervola with the father's body strapped to a sled, Hein inadvertently confesses; Simon, however, is of strong enough moral fibre to forgive his brother.