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1-8 of 8
- DoP Robby Müller has inspired generations with his ground-breaking camerawork. Director Claire Pijman had access to his personal archive to create an extraordinary film essay that intertwines archival material with excerpts of his oeuvre.
- A privileged young man, Charles de Rijk (Yannick de Waal) visits two lesbian women, Jannie (Jennifer Welts) and Sasha (Lisa Smit), who want to bear his child. But the evening goes a little different than planned.
- "Talking Guitars" is an intimate portrait of master guitar craftsman, Flip Scipio. The behind-the-scenes music-documentary illustrates the fascinating juxtaposition of the quiet artist and the world of musicians who seek his expertise. His clients include Jackson Browne, David Lindley, Ben Taylor, Paul Simon, David Tronzo, Leni Stern and Carly Simon. It is claimed that Flip "can make the worst piece of sh*t sing". For himself "Music is like Esperanto"; a universal language.
- Louise slowly collapses after Marcel leaves without answering her call. She looks at a black-and-white photo on the wall and bursts into tears. Then she gets an unexpected visit.
- Rumah Saya ('My home') is a nursing home for older Indian Dutch people. They sing, play games and enjoy Indian delicacies. Just like in the old days, when Indonesia was still the Dutch East Indies.
- Following the death of her husband, the elderly mother of filmmaker Claire Pijman moves to Amsterdam, to be near her daughters and grandchildren. Initially, she moves in with Claire, but when a ground-floor apartment becomes available on the same street, she goes to live there. Claire and her sister try to combine the care of their increasingly senile mother with their work and family. And this is how it should be -- Claire is utterly convinced of that. But as her mother's decline continues, things become increasingly difficult. Claire and her sister look on despairingly as their mother's world shrinks and her loneliness increases, despite all their efforts and their attempts to come up with pleasant ways for her to spend her time. Ultimately, admission to a nursing home seems inevitable. Pijman documents daily life during the last years of her mother's life. This poignant film illustrates personal dilemmas through intimate observations and openhearted discussions. The helpless look the mother gives her daughter when a social worker asks her how many children she has, and her mental absence at a party where she seems unable to join in the conversation, powerfully evoke the sense of sadness, guilt, and powerlessness that accompany the inevitable farewell.