Eugenie Jansen

Following her mother's death, an 11-year-old indigenous Australian girl named Shay moves with her father and brother to Belgium. Shay finds that her grief is readily accepted in her new town, which still bears scars from World War I.

Dicky bears the full weight of the small, financially unstable family circus on her shoulders. She has an ambivalent relationship with her brother-in-law Willy, who is the widower of Dicky's deceased sister Jena. Dicky takes care of Willy's little son Timo, and treats him as if he is her own son. When Willy's parents suggest Timo should go to a boarding-school to get a normal education, Dicky is very much upset. She cannot understand why Willy doesn't support her and why he thinks of putting his own son away. Young Tunisian tent builder Tarek has just arrived to work in the circus. Because Willy drinks a lot and often gets aggressive, Dicky spends more and more time in Tarek's company. Slowly but surely already faltering relationships start disrupting the circus. Dicky realizes that she must make a drastic choice. This is not the choice between the two men in her life, but between her love for little Timo, her loyalty to her family and the circus, and her own personal freedom.

The landscape in which we live has been around longer than we have. And it will still be there after our death. Not that the landscape always remains the same: every generation wipes out the traces of previous generations, and itself leaves new traces behind. This process has been followed for seven years with great detail, craftsmanship and without misplaced nostalgia on Super16 by Eugenie Jansen and Albert Elings. On the banks of the Netherrhine River, between the dike and the river itself, is a stretch of water meadow, Loowaard. In the derelict farmstead lives the last farmer who had cows here, there are remains of a brick factory that no longer has a function, and in the ground, remains have been found of an old Roman encampment. Until recently, the march of progress apparently had left this piece of land untouched. But now the meadows have to make way for the development of new nature.

The landscape in which we live has been around longer than we have. And it will still be there after our death. Not that the landscape always remains the same: every generation wipes out the traces of previous generations, and itself leaves new traces behind. This process has been followed for seven years with great detail, craftsmanship and without misplaced nostalgia on Super16 by Eugenie Jansen and Albert Elings. On the banks of the Netherrhine River, between the dike and the river itself, is a stretch of water meadow, Loowaard. In the derelict farmstead lives the last farmer who had cows here, there are remains of a brick factory that no longer has a function, and in the ground, remains have been found of an old Roman encampment. Until recently, the march of progress apparently had left this piece of land untouched. But now the meadows have to make way for the development of new nature.

Eleven-year-old Elin is convinced that she is able to fly, as long as she observes the ten rules. On the basis of these rules, the film shows how she tries to escape herself and reality, where she is considered an outsider.

In Tussenland kruisen de paden van twee 'ontheemden': de illegaal in Nederland verblijvende jonge Soedanees Majok en de bejaarde, in zichzelf gekeerde oud-militair Jakob. Ondanks de onderlinge verschillen herkennen zij zichzelf in elkaar. Beiden dragen hun verleden als een last met zich mee. Jakob lijdt onder het verlies van zijn vrouw en is nooit in het reine gekomen met zijn oorlogservaringen in Nederlands Indië. Majok draagt de last van de 'vergeten oorlog' in zijn vaderland en de heimwee naar zijn geboortedorp dat hij is ontvlucht. Uit hun ontmoeting putten ze de kracht om afscheid te nemen van hun verleden, zodat hun onverwachte vriendschap weer zicht geeft op een toekomst.