Niek Koppen

An elegiac documentary following virtuosic clarinettist and composer Kinan Azmeh, a Damascus-born musician living in exile, as he attempts to find meaning and purpose after the outbreak of war in Syria. A profound exploration of the role art can play in forging identity and community.

Frans Bromet delves into a mysterious feud that has divided his family for decades. Its origins lie in a conflict that arose on the Jewish side of the family after the Second World War.

Twenty years after Allard brought back the relationship with his mother to a minimum, the police calls him. They found her in a completely dishevelled house where she can no longer take care of herself. He decides not to abandon her in this state and takes responsibility for her care. Eventually, she ends up in a closed psychiatric ward. In this documentary, she blames her son for everything and wants him to behave like a good son.

Young people meet in the local pub and pretend a lot more than they are. Mostly their swanky conduct is touching and affecting. There is a lot of attention for the clothes, hair-dress, music and cars of the sixties. Some of the amateur-actors became later well-known Dutch actors and directors.

No film-maker has ever before been given permission to follow a Dutch election campaign with the camera. On the basis of a few contractual conditions, film-maker Niek Koppen was given a glimpse into the 'kitchen' of the Labour Party election campaign in 1998. From the making of the publicity photos by Anton Corbijn to the celebration of the election victory on 6 May 1998. In the Prime Minister's residence, Koppen recorded how decisions were taken during intimate discussions, phone calls and meals. The film focuses on the arduous cooperation between the veterans Wim Kok and Jacques Wallage and the much younger campaign director Karin Adelmund. De keuken van Kok (Working for Labour) provides a picture of the emotions, ambitions, tactics and the ups and downs of a long and tiring process. (filmcommission.nl)

Like his Swiss half-sister Jasmin, Dutch filmmaker Alex Pitstra is the child of a European mother and a Tunisian playboy father. The majority of their lives their father was absent, but after more than twenty years Alex invites Jasmin to travel to Tunisia with him. They want to reconnect with their Tunisian roots and find out how their father and his family relate to the 'bezness' phenomenon of North-African men roaming beaches and hotels, trying to seduce western women.

In Justiça, Maria Ramos puts a camera where many Brazilians have never been – a criminal courtroom in Rio de Janeiro, following the daily routine of several characters. There are those that work there every day (public attorneys, judges, and prosecutors) and those that are merely passing through (the accused).