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BEPPIE is a moving and disarming portrait of an Amsterdam street urchin. Van der Keuken once described her as follows: 'She was ten years old and the joy of the Achtergracht, where I was living at the time. An Amsterdam child, sweet and crooked as a corkscrew.' He films her while she skims the city with some friends and knocks at strangers' doors. Her family has nine children and is not well off. In those days, a visit to the De Miranda swimming pool cost a quarter, but only ten cents if the weather was bad. At school, Beppie gets a poor mark because she is too boisterous, but when the whole class rattles off the multiplication tables, she joins in at the top of her voice. All of TV-watching Holland was wildly enthusiastic about this portrait, with which Van der Keuken even made the front page of the national newspaper De Telegraaf.
Five portraits from the mid-seventies. The nouveau riches and the nouveau pauvres take their places. With Joop Uchtman, Claude Menard, Ome Joop Beaux, Doris Schwert en Jan van Haagen.
Rare fictional short, written by Remco Campert, in the veins of existentialism. About a young man who is in love with the girlfriend of his best pal.
Johan van der Keuken's first film is a uniquely beautiful portrait of Paris at dawn.
Documentary shows brass bands from Nepal, Surinam, Indonesia and Ghana.
Detective Beauty undertakes an investigation into reality. He tries to understand a world he cannot grasp, to capture the things that escape him.
With the use of montage sequences, voiced over with the observations of the children, van der Keuken was able to use artistic expression to portray the sightless children’s unique perspective of the world.
Film essay about the slums of 1960's Amsterdam.
In SPIRIT OF THE TIME (1968) van der Keuken presents a collage of "drop-outs," protesters (both left and right), musicians and "hippies." He organizes these figures around an idea of "mental readjustment," otherwise known as the counterculture. Acting upon a political and social withdrawal into self, they have tried to find new ways of living together.
Johan van der Keuken: 'We kept the ends of a lot of shots in Amsterdam Global Village: the camera leaves the subject and pans to the sound woman, who quickly taps the microphone. These taps later in the cutting become the references for synchronising picture and sound. This film is the rhythmic sequence of these taps, in which something of a story can be seen.