Elsje de Wijn

The story of a romantic relationship between a Canadian soldier and a child set in the Netherlands near the end of WWII. Told in flashback from the present day, the child, now a man, is still seeking his lost soldier.

영화는 어젯밤의 흔적을 치우며 새로운 아침을 준비하는 클럽 해피하우스로부터 시작된다. 그곳에서는 저마다의 기구한 사연을 가진 여성들이 생존을 위해 자신을 판다. 무능력한 마약중독자 남편 대신 생활전선에 뛰어든 다이앤. 그녀 역시 해피하우스에서 일한다. 같은 시간, 도시의 다른 한편에서는 잘 차려입은 양복 차림의 남성이 여성을 납치하고, 침대에 묶고, 즉석 카메라로 그녀의 사진을 찍는다. 여자는 벽 한켠에 붙어 있는 이미 살해당한 여성들의 사진을 보고 울부짖는다. 여자의 고통에 한껏 희열을 느끼는 연쇄 살인범. 마치 두 개의 바퀴처럼 전혀 연관이 없어 보이던 이야기는 얘기치 않은 사건을 계기로 극적인 랑데부를 하게 된다.

Unrelenting pessimism dominates this slow-paced, dark film, the debut feature from director Digna Sinke dedicated to an archetypal born loser named Marian (Josee Ruiter). Marian is a journalist who has been working in Latin America and who arrives home just after her father dies to find out that the man she had married for purely political reasons might be deported because the authorities found out he was not living with her. Meanwhile, Marian is upset that her mother and sister are keeping her mentally handicapped brother in an institution, and she goes there to get him released into her custody -- a mistake it turns out. He is actually worse off with her, and vice-versa. On top of everything, Marian cannot break away from the depression she feels over a tragic incident that happened while she was in Latin America -- and anything she does is colored by that moment from the past. These burdens become almost too much to bear, both for Marian and the viewers.

The story of a man who goes out looking for hamburgers, while he has a beautiful steak at home. Frank and Eva can't live together, but can't live without each other either. Frank has sex with every woman he can get, while Eva wants to start a family.