John Albert Jansen

Loss won’t pay the bills is a moving and humorous portrait of Holland’s oldest greengrocer and his wife, who put their heart and soul into running their business and don’t want to hear about quitting. Adrie and Francien’s greengrocer’s shop in Flushing’s old town has been there for 65 years. Old age has affected their walking ability, but Adrie still works 14 to 16 hours a day. Just before they got married in 1957, they went on holiday for the first and last time. Since then they haven’t got around to it. Working hard is their creed. Ada, Adrie’s much younger sister, helps out in the shop every day. She worries at the prospect of spending three months in the south of France. Will Adrie and Francien be able to carry on or will they have to close down their shop?

Dutch author, poet and columnist Remco Campert still sits at his typewriter every day, despite his advancing age. This veteran of the experimental Dutch literary movement of the early 1950s known as the Vijftigers sees himself mainly as a poet, even though he might be more famous for his columns, short stories and public performances. He has carefully created an image of himself as a charming Sunday's child, loved by everyone. But who is he really? Director John Albert spent a year with Campert, quietly documenting his everyday life (the daily game of scrabble with his wife Deborah, a cup of tea, a cigarette, a glass of wine), as well as more intimate moments such as his admission to the hospital and conversations with his daughters and friends. He turns out to be a man of few words - at least verbally - but his poems tell a story of melancholy, mortality and approaching death. Fortunately, his writing keeps him going: "Poetry is an act of affirmation. I affirm that I am alive."

Dutch author, poet and columnist Remco Campert still sits at his typewriter every day, despite his advancing age. This veteran of the experimental Dutch literary movement of the early 1950s known as the Vijftigers sees himself mainly as a poet, even though he might be more famous for his columns, short stories and public performances. He has carefully created an image of himself as a charming Sunday's child, loved by everyone. But who is he really? Director John Albert spent a year with Campert, quietly documenting his everyday life (the daily game of scrabble with his wife Deborah, a cup of tea, a cigarette, a glass of wine), as well as more intimate moments such as his admission to the hospital and conversations with his daughters and friends. He turns out to be a man of few words - at least verbally - but his poems tell a story of melancholy, mortality and approaching death. Fortunately, his writing keeps him going: "Poetry is an act of affirmation. I affirm that I am alive."

Nineteen-year-old Bendja was born in the Netherlands, but his roots are in Moluccas. His father, writer Frans Lopulalan, understands his son’s desire to touch Moluccan soil; he shares that wish. The two decide to travel to the village of Porto on Saparua island, where Frans’ deceased father, a former KNIL soldier, used to live. Verhaagen follows them on their trip to the tropics. A trip that the two men experience in different ways. Frans writes a lot and visits the ground where his father’s house once stood. Bendja dives into the daily village life. He also wonders if he shouldn’t resume his ancestors’ battle. Frans has mixed feelings about this: ‘I hope he can identify with being Moluccan without it necessarily causing him to reject his life in Holland.’ The personal experiences of father and son Lopulalan are complemented by significant archive footage.