Frieda Pittoors

Charles Dujardin - psychiatrist - starts losing his precious sense of control when Lotte, a seductive and promiscuous client offers her confession. Her story takes hold of his mind. After his ailing wife is sped off to the hospital Charles grows obsessed with Lotte. Reality and fantasy start mixing. An ethical commission starts asking difficult questions. There's been a complaint. An official investigation is started. But he didn't do anything wrong. Did he?

To find real happiness, you need only to look within yourself - but what these characters find is revolting. An anthology of only the most disturbed short horrors. Only palatable after the sun goes down.

When her mother abandons her dementing father, Alex unexpectedly finds herself at a crossroads. As she moves back in the parental house to look after her father, she starts questioning her own life. Does she want to stay with her adulterous husband? She tolerated his affairs for years, but is she really happy with him? Or should she, like her parents, drop the facade?

After her daughter's death, Vivianne neglects herself and her house. Since twenty years, she tries to fill up emptiness with stuff. But the situation becomes unbearable and she takes a dramatic decision to get rid of her grudging sense of guilt.

Five thirty-something men in as many separate segments struggle to grapple with the relentless absurdity of their respective existences.

혀가 잘려 말을 하지 못하는 리즈가 조산사로 일하고 있는 황무지 마을에 새로 목사가 부임하고, 그녀는 긴장한다. 강렬한 카리스마를 선보이는 목사의 얼굴에는 깊은 칼자국이 있다. 리즈를 천형과 같이 따라다니는 그는 과거 자신의 얼굴에 칼자국을 남긴 그녀를 찾아 응징을 위해 이 황무지까지 찾아왔고, 지옥과 같은 잔혹함으로 끊임없이 그녀를 고통스럽게 한다. 자신과 사랑하는 딸을 지키기 위해 리즈는 최선을 다하고, 그녀의 기개와 용기 그리고 살아남고자 하는 강한 생존본능은 그녀를 피해자가 아닌 생존자로 만든다. 리즈는 더 이상 위협 앞에 두려워하는 어린 소녀가 아니라 놀랄 만한 용기로 자신과 자신의 딸을 지키기 위해 더 나은 삶을 요구하며 자신 앞에 끝임없이 나타나는 악마 같은 잔혹함과 맞선다.

A comedy about three woman working at a boring holiday resort and their criminal employer.

Bachelor Antoin is tired of being alone. His neighbor Rob decides to help him, and brings Antoin into contact with Russian Natasha who moves in with him. What Antoin not know is that Natasha actually the secret internet lover of married Rob, and the arrangement is nothing but a front to have her near him.

디자인 전문가답게 완벽한 구도와 정물화 같은 화면을 긴 호흡으로 지루하지 않게 만들어낸 작품이다. 누구도 흉내내지 못할 인간 내면의 외로움과 누구도 포착하기 힘든 감정을 관객이 보기 쉽게 펼쳐 놓는다. 유럽 영화에서 보기 드문 큼지막한 얼굴을 화면 가득채운 특별한 영화다. 헐리우드 영화 처럼 유명 배우 얼굴을 의미 없이 화면 가득 담아 시간 때우기나 호객행위를 하는 그런 영화는 아니다. 최고의 배우인 휠러의, 내면을 간파할 수 없는 얼굴을 정물화를 감상하듯 지켜보는 재미가 있다. 할리우드 팝콘 영화에 익숙한 관객에겐 고통일 수 있다.

Thijs is a ripe-age Dutch tomato grower. His adult daughters plan to have him move in a skyscraper-flat, leaving home and professional life, but he takes his adolescent (half-)Moroccon grandson Omar's advice to refuse and keep living. Thijs even lets the cheerful rascal coach his love-life, which lands him on a blind date with Jacky, an energetic Flemish woman, who won't take no for an answer but turns up at his door-step till he consents, and soon drags him into evening life, preparing for a dance contest. Soon after Omar turns up, listless and lazier then ever, runaway from school and home. The obvious reason for the horny hound's hanging head is a girl: Mergal is foxy, Turkish and as smitten as he, but her burly big brother Erhan will only allow a boy to go steady with her who has proven himself his better on the field in the traditional manly sport of oil-wrestling. Now Thijs...

When Bas puts up the note Wanted: Man on the notice board of the local supermarket for his single mother, she does not know about it. The self-willed Bas tries to find a solution for the separation between him and his mother, who no longer knows how to cope with Bas' superstitious compulsions. And both are hydrophobic. But by the end of the summer, the harmony between these two heart-warming characters has been restored.

Bonnie, a nine-year-old single child, is part of a family of three living in the Netherlands. They have a love of elephants, passed on by Bonnie's grandfather's grandfather who worked on a game reserve in Africa, and Bonnie feels that she instinctively does things like an elephant as a result. Her single mother, Lis, is bi-polar and at times spends days on end without even getting out of bed. Then there are other times when she will manically do wild acts, such as impromptu dancing in public. As a result, Bonnie's sturdy and stable grandmother must hold the family together by doing all the cooking, etc. After her grandmother is killed by a car, Bonnie becomes the most responsible family member and struggles with preparing meals and getting her reluctant mother to take her medication. She also must dodge Jorien, a social worker who is attempting to place her in a foster home.

Frank and Paul are best friends forever and raised Frank's daughter Lilli after a tragic car accident. The two men scrape a living by working as barmen and bouncers in a strip club while Lilly has grown into a lively and self-confident teenager. The disaster unfolds when Lilli seduces Paul and gets pregnant.

Muriel moves from a small village to the big city of Brussels, hoping to start an independent life working as a museum guide. She rents a room from Laura, who has a room to spare now that her mother is in hospital. Laura is a vital and candid woman who has a child-wish but leads a very chaotic life. Meanwhile, Muriel's mother has a hard time accepting that her daughter leads a life of her own now, and she also faces some changes at the factory where she works. The movie follows the interconnected lifes of these three women of three different generations, who all face different problems.

The importance of the Atelier as a meeting and working-place for independent or beginning filmmakers is highlighted in Last days of Studio Frans van de Staak a necrology of his films by Kees Hin (2002), which focuses mainly on Van de Staak's non-naturalistic style of directing actors.

Fifteen-year-old Sammy has recently become aware of desires she awakens in men but one man to whom she is herself attracted is her older brother Jacob. With an institutionalized father and a mother neither sibling has seen for years, Jacob provides for the household through his trade in meat declared unfit for human consumption. This situation has sufficed for years but the dedication with which Jacob watches over his little sister leaves her no room to mature as a woman...

Frans Laarmans temporarily abandons his job as an office worker to become a salesman for a big cheese company.

Every scene of the film comprises a dialogue between a man and a woman. The dialogues are fragmentary, in other words, the dialogue in one scene does not tie in with that of the next. In addition there is no development in the relationship between the actor and the actress towards a happy or unhappy ending. The dialogues are not only of substantial interest; it is above all material for the actors. The film balances on the boundary between portraying an intimate relationship between a woman and a man and the intimacy in the acting between the actor and actress. When an actor or actress hardly has any words in a scene, he or she portrays loneliness; when he/she has a monologue, then the attention is focused on speaking the text, on (the reflection about) being an actor. (Wim Schlebaum

Wilfried Wils is an auxiliary policeman in Antwerp at the start of the Second World War. The city is in the grip of violence and distrust. Wilfried does what he can for himself, avoiding paths that are too slippery. He receives attention and material support from a man who has sided with the German occupier, Meanbeard, but he also enjoys the confidence of his anti-Nazi colleague Lode, brother to Wilfried’s love Yvette. Wilfried struggles to survive as the persecution of the Jews proceeds unabated.