Fien Berghegge

Circus artists Jan and Annie are in possession of jewels that were - unbeknownst to them - stolen from the famous Jolly Sisters. Mistaking them for the thieves, two bumbling detectives infiltrate the Dutch theatre-life.

A series of four stories written by the Dutch writer Heere Heeresma, interpreted by four different directors. A confirmed bachelor bumps into his secretary after work. An old man just wants to be left alone at Christmas time. A former sailor yearns to get back to the sea, away from his clarinet playing wife. A shopkeeper in a rowboat gets into an argument with a postman on a bicycle.

Petty criminal Bert Oliemans goes down for stealing jewellery from a former SS man. After his release he is constantly followed by police commissioner Van Houthem and a greedy gang leader, both out to get their hands on the stolen jewels.

Well to do business man Pierre falls for the unpredictable and free spirited Toni. They begin a relationship, despite the fact that she's living with another man who is the father of her child.

While the residents of Runichem are busy preparing for the approaching centenary, an art theft takes place in a villa. The same evening, an officer is shot at an alcohol check. When Wilbur tries to call home from the community center that night, the phone interferes and he hears a fragment of a conversation related to criminal activities. Wilbur and his friend Aristides decide to investigate this mysterious case, with the help of Akkie, daughter of inspector Swaan, and grandfather Quarles. This film is based on the second season of the Dutch tv series 'Q & Q'.

Mientje comes from an ordinary working class family. Her father's alcoholism threatens to put an end to her engagement to Herman, her well to do fiancée. When her parents divorce, Mientje comes into conflict with her future mother-in-law. A grim but ultimately hopeful look at marital problems, poverty, lost love and alcoholism in a working class neighbourhood in Amsterdam.

As years pass, the Craets-Goldeweyn family must cope with the disappearance of the familiar and the inescapable new that imposes itself.