Anna is a vital woman who is married and has two daughters. She picks up her old passion of writing again after frequent requests by a colleague and a friend, but she had not foreseen the consequences of family and friends reading her stories...
Netherlands, 1938. In a small town in the province of North Brabant called Oss, Johanna wants to change her life and quit the criminal gangs of the town. The harder she tries, the more she is involved.
André van Duren
When conditions are right an infamous ice-skating race is held in the north of the Netherlands. The 200 km race must be completed by midnight and everyone who finishes receives a medal. ... See full summary »
Steven de Jong
Willeke van Ammelrooy,
After both signing an agreement with a company that offers to end their lives when they least expect it, a dejected millionaire and a disheartened young woman fall in love and have to find a way to get out of their binding contracts.
Mike van Diem
Jeroen van Koningsbrugge,
Anna picks up her life-long, as a girl discouraged ambition to write. Preparing to the autobiographic formula of her favorite author, she taps into her, her ma's and two daughters' love and family life as well as her professional experience as midwife. Pondering these, mixed up with gore fantasy, only stirs past and present tension for all concerned.Written by
Director Willem van de Sande Bakhuyzen had already been diagnosed with terminal cancer when the movie was shot. Co-director Jean van de Velde was attracted to replace him if there would be a need for that. Van de Sande Bakhuysen did manage to complete the movie, but he died one day before its release. See more »
For a movie that intends to celebrate life, this movie has the paradoxical quality that everything in it is highly artificial. As a girl suffers from a heart attack, for example, the person who is responsible for this dies in a car crash, so that his heart can be implanted by the girl - and to make it even more far-fetched: the car accident is a reminiscence of an almost-drowning-incident more than ten years earlier with the same actors (the mother Sybille saving the life of the boy, saves then in fact the life of her daughter). These forced plot lines are to be fond almost every scene.
The dialogs contain a similar paradox. The real subject of all speech is never named, yet the single sentences are perfectly clear and fit too perfect and very artificial to the things said before. This creates a sense of deepens that may do it well on stage (the scenario of Maria Goos was originally a lay) but on television it makes your stomach turn more and more as the film advances. And then I have not mentioned all drama and the sweet ending that catalyze this.
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