Pieter Fleury

By the year 2000, half of all young people in Amsterdam will be of immigrant origin. The government aims to promote integration requiring that 70 percent of newly hired employees of the Municipality of Amsterdam be either of immigrant background or women. Mene Tekel examines the consequences of this policy within the Amsterdam Fire Brigade. Without using interviews, and instead relying on observation and a narrative structure resembling a feature film, the documentary shows how the policy affects recruitment and training. Sons from long-established firefighting families are no longer automatically eligible for a position. Meanwhile, newcomers of immigrant background often find themselves entering the fire brigade almost as a result of well-intentioned efforts by social support agencies. Once there, they undergo extensive testing and initiation, because when the alarm sounds they may be confronted with death, and firefighters must be able to trust one another completely.

The largest post-war industrial disaster in the Netherlands takes place on 13 May 2000 - fireworks storage S.E. explodes in Enschede. Firework. Many people are injured, a residential area is wiped out and 23 people die. How could such a disaster take place in a tightly organized country like the Netherlands? In De Waarheid, average in-depth interviews, zoom in on the decisions and behavior of those involved around the fireworks disaster in Enschede, in order to reveal the ones that provide insight into how this fragile balance manifests itself. Via the owner of the fireworks storage, an involved firefighter and the licensing municipal officials and the mayor, we reach the leader of the investigation commission, the chief public prosecutor and the minister of the interior who had to deal with the disaster. After all, it is the citizen whose house is destroyed who appeals to common sense.

If the cityscapes and patriotic anthems of this film seem a far cry from the bleak landscape of Seoul Train, that's no accident. Dutch filmmaker Pieter Fleury, with the full permission and cooperation of the North Korean government, created this propaganda film that gives us a glimpse of a day in the life of one of the world's most enigmatic societies. A Day in the Life, largely dictated by the North Korean film bureau, follows a typical North Korean family through their daily duties, largely dedicated to the pride in the North Korean nation of comrades and the glory of General Kim Jong Il. The film is meant to extol the success of modern North Korea. But does it? With straight footage and a total absence of narration, viewers may interpret Fleury's film in a slightly different manner than intended

A documentary about Dutch singer Ramses Shaffy