Directing
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Daan is used to stand in front of a camera. Growing up, it was his father's camera, world-renowned photographer and filmmaker Ed van der Elsken. Now it's the camera of his good friend, Joris Postema. Together with him Daan tries to get control of his life by confronting his father posthumously. Daan believes his father - who he takes after more than he'd like - is mostly to blame for his mental problems. By means of photos, film footage and meetings with family members and friends, Daan tries to fathom what his father has passed on to him and he makes a surprising discovery.
Telstar Football Club from IJmuiden is an absolute underdog in Dutch professional football. Chairman Pieter de Waard, like his father, wants to save the club from ruin and is constantly coming up with new activities to get people involved in the club. On the other hand, for coach Andries Jonker - who worked for clubs like Bayern Munich, Barcelona and Arsenal - professionalization and sporting success is an absolute goal. Corona puts everything on edge.
It is his own son Xander, who is currently causing a furore with Jett Rebel, who points out to his father the changing times. Both men share their love for the bass guitar, visit many colleagues and show us the tantalizing clash of generations.
Based on the struggle of young people in Goma (Northeastern Congo) against the prevailing Western reporting about war and misery, Stop Filming Us investigates how these Western stereotypes are the result of a skewed balance of power. Stop Filming Us creates a cinematic dialogue between Western perceptions and the Congolese experience of reality. While the Congolese perspective becomes increasingly clearer in the film, questions arise about the perspective of the film itself; is a white director able to make a film about the new Congolese image or is it primarily a story created by his own Western perspective?
