De ondergang van de Onan
Dick Bakker convinces Onno Bosman to produce a stage show about the sinking of the cruise ship 'Onan' and hires Fred Haché, Barend Servet, Sjef van Oekel and Ir. Van der Pik to star.
Also Directed by Wim van der Linden
A group of people are having a party. The host has invited concert pianist Johan van Spek to perform one of his own compositions, which leaves the piano in such a state that a tuner arrives shortly to care for it.
A rude man goes to restaurant 'Bon Appetit' and orders practically everything on the menu.
A young farmer's wife brings her husband something to eat in the field during summer time.
"This beautiful example of far-fetched blasphemy accompanies a happy, ugly nun into the woods for her constitutional, replete with charming bird noises. Praying to and fondling a priapic mushroom, she is unaware of the evil rapist shadowing her. When the rape occurs, it is in long shot, hidden from view, under a huge tree. Articles of clothes and her cross sail through the air; the tree - entirely dominating the screen - sways rhythmically and repeatedly. A few minutes later it stops; then another tree, a few feet away, begins to sway in identical fashion. The rapist finally emerges, exhausted." (Amos Vogel, Film as a Subversive Art)
The film shows, in an almost motionless camera setting, a frumpy 1960s interior. The viewer sees a dresser with a vase of tulips atop it. Swelling music accompanies the camera as it slowly zooms in on Holland’s national flower. In the carefully constructed staging, it is like a visual sledgehammer when a single petal suddenly comes loose and falls. Then the camera modestly pulls back.
Also Directed by Wim T. Schippers
A rude man goes to restaurant 'Bon Appetit' and orders practically everything on the menu.
Patrick Dench is a successful loudmouth barrister and professional womanizer who treats everybody with disrespect but still manages to bed every beautiful woman in sight.
A young farmer's wife brings her husband something to eat in the field during summer time.
The film shows, in an almost motionless camera setting, a frumpy 1960s interior. The viewer sees a dresser with a vase of tulips atop it. Swelling music accompanies the camera as it slowly zooms in on Holland’s national flower. In the carefully constructed staging, it is like a visual sledgehammer when a single petal suddenly comes loose and falls. Then the camera modestly pulls back.
Also Directed by Gied Jaspars
A group of people are having a party. The host has invited concert pianist Johan van Spek to perform one of his own compositions, which leaves the piano in such a state that a tuner arrives shortly to care for it.