Doula's van de Stad

Leon Mortier, a wealthy publisher, whilst driving through the forest one day, stops when he sees Lulu walking down the long narrow road. She gets into the car. Leon is amused and intrigued by her. When he pulls off, suddenly out of nowhere a man appears in front of the car and Leon accidentally hits him. He decides to take them both home to recover. Leon falls madly in love with Lulu. Both Lulu and the man stay on with him in the house. Lulu's behavior is unpredictable. Leon becomes suspicious and paranoid about her. As he begins to suspect that his friends are being unfaithful with Lulu, he decides to throw a dinner party with some of his closest friends. During the dinner he wants to confront them with their infidelity and expel them all from his life with Lulu. But when he discovers his son in the arms of Lulu, he decides also to get rid of her, a plan which backfires in a most unexpected way.

The parents of five sisters have been married for forty years; the daughters have gathered in the family beach house to make a video for them. The encounter is marked by many confrontations as well as cheerful moments. Reminiscent of the sweet children's poems that mother recited are countered by Elsschot's Marriage: 'He thought: I'll kill her and set light to the house...' It also turns out that father had once disappeared for eighteen months, a 'secret' that the daughters have different ideas about. Brittle, an intimate film version of a play written and performed by the same actresses, is about rivalry in a family, the right to silence, but also about the need for solidarity. At the Netherlands Film Festival in 1997 the Golden Calf for Best Actress was awarded to the five actresses together.

A woman diagnosed with terminal lung cancer gathers her three dearest friends together to make the most of the time she has left.

When a wife and mother of two finds out her husband has an affair, she tries to make his life a living hell. The sequel to Dutch move hit Schatjes!

Accidentally still in possession of his best friend's pocket knife after they move all the way to a different city, a young boy sets out to return it.

Actress and writer Nazmiye Oral discusses with her Turkish mother everything that was previously not discussed in the family. In stylized recordings, the women show extreme frankness. The viewer witnesses what the integration process looks like within this Turkish family, making it clear what the process of dialogue, misunderstanding and alienation yields within the intimacy of immigrant families. The understandable pain of this family about the modern life of their daughter gets an accessible face.