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Because of her incestuous past Charley (Marie Kooiman) refuses to talk. Together with her friend she invites men to her house, seduces and poisons them and removes their male parts. Then it is revealed that she can talk after all.
The new bank manager tries to get rid of two difficult bank employees by playing them off against each other in a devious way. Looking for weaknesses, acquired privileges are withdrawn and one employee is used to catch the other committing fraud. The pressure continues to mount. Then a former customer is brought in, a man bent on revenge who still hasn't gotten over a bankruptcy from the distant past.
A young Dutch couple gets new English neighbors next-door to their modern home. Of course, everyone is not who they seem.
Twenty-five films from twenty-five European countries by twenty-five European directors.
A bartender watches with amusement as two strangers meet and duel verbally in his bar. Katya, a former dancer, is trying to forget the death of her young daughter. Pom, a comedian known for his verbal thrust and parry, tries to charm, shock and disgust his date in turn.
In the early spring of 1997, Theo van Gogh conducted a series of interviews with Willem Oltmans, the man who at the time loudly proclaimed that he had been obstructed by the State of the Netherlands for more than forty years—in particular Foreign Minister Luns, who called Willem Oltmans "the single-engine mosquito." For years, his lament was barely heard in the Netherlands. But around the mid-nineties, a different wind seemed to be blowing, and Oltmans gained an increasingly wider audience. For it turned out he was right; according to hundreds of secret coded telegrams, he had been obstructed for years in an extremely bizarre manner.
Chris Luger, a fascistic psychopath from The Hague, kidnaps the simple-minded daughter of a millionaire. Her dad refuses to pay the ransom.
Greek tragedy by Euripide moved to Dutch politics. Medea, the daughter of the chairman of the senate, falls madly in love with ambitious politician Jason. Together they plan a campaign to make Jason prime minister.
Sarah, 30, single, well educated, likes art, places a voice ad for phone sex, inviting replies from men under 35, sturdy and sensual. Wilbert, a chubby middle aged architect, leaves a message that he is Thomas, 32 and well formed. A week later, she phones. She likes his voice, he likes her laugh, so once a week she phones him (he's not to know her last name, where she lives, or her number). Portraits emerge of humor and sadness. He presses for details of her life and tells her about his work; she wants these Thursday calls to be fantasy and release, separate from the rest of who she is. The film dramatizes these tensions of lies and truth, connection and distance. Written by