german/ dutch producer meeting - Nederlands Film Festival

27 Sep -1 ocT uTrechT filmfeSTival.Nl 

GERMAN/ 

DUTCH 

PRODUCERS 

MEETING 2012 

-The New 

GeNeraTioN 

29 SepTemBer 

25th 

AnniversAry 

of hfM 

iNTerNaTioNal SecTioN of The NeTherlaNdS film feSTival

Contents 

German/Dutch Producers Meeting 2012- 

The New Generation 

2 

4 

6 

7 

8 

10 

12 

14 

15 

16 

18 

20 

26 

Foreword 

Producers: Germany 

augenschein Filmproduktion, Jonas Katzenstein and Maximilian Leo 

Project: FATHER 

Beleza Film, Jessica Landt and Falk Nagel 

Endorphine Production, Fabian Massah 

Gringo films, Sonja Ewers and Steve Hudson 

Project: DUISBURG 

Weydemann Bros., Jakob D. Weydemann 

Project: EUROPE’S BORDERLAND 

zischlermann Filmproduktion, Susanne Mann and Paul Zischler 

Producers: The Netherlands 

Baldr Film, Frank Hoeve 

Pupkin Films, Iris Otten 

CTM LEV Pictures, Sander Verdonk 

Project: KESSELS 

Keren Cogan Films & Phanta Vision Film International, Keren Cogan Galjé 

Project: BETWEEN 12 AND 14 

Smarthouse Films, Danielle Guirguis 

Projects: LA HOLANDESA, CARMEN’S WORLD, DUTCH DANCE-AFROJACK IN DA HOUSE 

Viking Film, Marleen Slot 

Project: LUNA 

2012 GERMAN / DUTCH PRODUCERS MEETING 1

Foreword 

Welcome to the German/Dutch 

Producers Meeting – 

The New Generation 

Organized in close cooperation with the FFA (German Federal 

Filmboard) and the Netherlands Film Fund, the Meeting aims at 

enhancing the existing synergies between our countries. We like 

to create ample opportunities –formal and informal- for German 

& Dutch producers to meet and greet, to talk about projects and 

to explore coproduction potential. Enthusiasm for intensifying, 

deepening and expanding of the relation between the young 

generations of German and Dutch film producers, these terms 

describe the frame of mind of all parties involved while preparing 

the Meeting. 

How does the German film industry market function? What are 

the chances for Dutch and German producers? Is there common 

ground, are there common subjects to cover? What genre film, 

what kind of content could successfully find an audience in the 

respective countries, what not? And why? Is there a blueprint? 

What do the figures say? As one of Europe’s smaller countries how 

does the Netherland Film Fund relate to the several individual 

German Funds and Länder? How to strengthen the funding? 

This one-day event is a continuation of previous discussions on 

German/Dutch co-productions and will hopefully be the first of a 

regular series of meetings between the two film industries. 

The Meeting consists of an open and a closed session, reflecting 

the nature of the event. On the one hand, analyzing the formal status 

quo of the co-production structure between the countries and 

discussion of future steps during the morning panel; The –closed- 

afternoon session on the other hand will be solely dedicated to 

meetings between the participating producers. 

This Meeting would not have been possible without the support 

of the Netherlands Film Fund and the FFA and the encouraging 

enthusiasm of the participating producers. A special thank you to 

FFA’s Nicola Jones. We wish you a productive and enjoyable day! 

Ellis Driessen 

Coordinator Meeting 

Signe Zeilich-Jensen 

Head Holland Film Meeting 


Programme 

11:30-11:45 hrs 

11:45-12:15 hrs 

12:15-12:30 hrs 

12:30-13:30 hrs 

13:30-14:30 hrs 

14:45-17:30 hrs 

17:30 hrs 

Saturday September 29th 

Word of Welcome 

Short introduction of the program and panelists 

State of German/Dutch Affairs 

Film policy: Present & Future 

Doreen Boonekamp, CEO Netherlands Film Fund 

Peter Dinges, CEO Filmfoerderungsanstalt (FFA) 

Keynote 

by Leontine Petit, Lemming Film (NL) / Hamster Film (G) 

Coproduction Germany - The Netherlands 

With representatives of German Film Funds and 

the Netherlands Film Fund 

Lunch 

Closed session: Project exchange & Networking 

Closing 


augenschein 

Filmproduktion 

Company profile 

augenschein Filmproduktion was founded in 2008 by Jonas 

Katzenstein, Maximilian Leo and Keve Zvolenszky. Based in 

Cologne, Germany, augenschein focuses on international 

co-productions and national first-time directors, for both 

fictional and documentary feature films. 

Our filmography includes: 

Tour du Faso, feature documentary; 90 mins; in production 

Who Is Thomas Müller? 

crossmedia feature documentary; 90 mins; in production 

End-times 

documentary; 60 mins; in production 

Amid Valleys and Mountains 

drama; 90 mins; co-producer; 2012 

Kid 

drama; 90 mins; co-producer; 2012 

The Hardest Time 

documentary; 45 mins; 2012 

Next Tenant 

short; 30 min; 2010 

4 GERMAN / DUTCH PRODUCERS MEETING 2012 

Project 

Father 

Logline 

Experiencing 1990s Kosovo through the eyes of 10-year-old Nori, 

Father offers a very special perspective. Nori will not accept being 

abandoned by his father – not at any cost. 

Synopsis 

Yugoslavia is about to collapse. Miloševic is in power; terror 

dominates everyday life; and trafficking seems to be the only 

profitable business. The father of 10-year-old Nori wants to 

escape Kosovo, too, but without his son. Nori is supposed to 

remain with his uncle. When Nori is in hospital one day, his father 

Gezim (45) takes advantage of the situation and secretly hits the 

road. 

In order to follow his father, Nori steals his uncle’s wedding 

money and teams up with his friend Valentina (30). Together they, 

too, leave for Germany. Valentina wants to be reunited with her 

husband, but does not have sufficient money for a journey on her 

own. After a horrifying trip they reach Germany. To get rid of the 

illegal child, Valentina’s husband helps find Nori’s father. 

When father and son meet, Gezim is thunderstruck. But Nori, still 

deeply disappointed, beats him with a chair. Nori quickly sees that 

his father is weak and unable to deal with the situation. Gezim 

is soon to be deported: the fact that Nori is now illegally in the 

country does not make things any easier. His father cannot even 

take him into the refugee hostel, so they secretly climb over the 

fence at night. 

Gezim sees moving to the Netherlands with his son as his last 

hope. He demands that Valentina’s husband return the money with 

which she came to Germany, but he refuses and beats up Gezim in 

front of his son. When they try to climb the fence again, the father 

gets stuck. The barbed wire cuts into his flesh. Gezim, hanging on 

the fence, tells his son to run away to avoid their deportation. Nori 

runs away.

Director’s statement 

Kosovo during the 1990s. The social climate during that time is 

hard to describe. The amazing thing was not so much the prewar 

atmosphere itself but rather the way people dealt with it: the 

constant state of fear had become so normal for everyone that, as 

long as there was no immediate threat, we actually forgot about it. 

It was prompted by experiences like these and by my own escape 

to Germany that I had the idea for this film. It tells a very personal 

and subjective father-son story in times of foreign domination. 

I don’t want to make a political statement: the context is far 

too complex. So I focused on my personal experiences while 

writing the screenplay. There is hardly any scene in it I haven’t 

experienced myself or witnessed in my immediate surroundings. 

Current status 

€415,000 secured in Germany and Kosovo. Shooting planned Fall 

2013. 

Aims at the HFM 

Looking for a Dutch co-producer. 

Visar Morina 

Jonas Katzenstein Maximilian Leo 

Director 

Visar Morina 

Producers 

Jonas Katzenstein 

Maximilian Leo 

Co-producer 

Visar Krusha (Kosovo) 

Broadcaster 

WDR (Germany) 

Screenwriter 

Visar Morina 

Based on 

an original story 

Languages 

Albanian, Serbian, 

German 

Genre 

Drama 

Running time 

90 mins 

Budget 

approx €1,500,000 

Contact 

augenschein Filmproduktion 

Lupustrasse 36 

50670 Köln 

Germany 

Tel: + 49 221 16 95 05 00 

Email: info@augenschein-filmproduktion.de 

www.augenschein-filmproduktion.de 


Beleza Film 


Beleza Film, headed by Jessica Landt and Falk Nagel, produces 

feature films, documentaries and audiovisual products for the 

national and international markets. 

From the very beginning, our projects have had a strong 

international objective. In 2010, Beleza organised the film 

workshop ‘One Day in the West Bank’ together with 10 young 

filmmakers in Palestine in co-operation with the Goethe-Institut 

in Ramallah. Other completed projects are the short film Little Red 

(nominated for the Berlin Today Award 2011), which was directed 

by Eva Pervolovici, and several other short films. 

Currently in post-production is the documentary Make Me a Match, 

about matchmaking in Israel. The Turkish-German co-production 

Küf premiered in this year’s Venice Critic’s Week. We are in 

development with the feature documentary I Am a B-Boy, about 

break-dancing, and the transmedia project Tell Me Who You Are/ 

yourbeat.org has just been launched. A feature documentary about 

Australian pianist David Helfgott is in production. 


Projects 

Contact 

Beleza Film GbR 

Jenfelder Allee 80 

22045 Hamburg 

Germany 

Tel: + 49 40 66 88 47 78 

Anklamer Strasse 4 

10115 Berlin 

Germany 

Tel: + 49 30 70 03 46 30 

Email: info@belezafilm.de 

www.belezafilm.de 

Falk Nagel 

Jessica Landt 

Little Red (2011) 

Short; director Eva Pervolovici; funded by Medienboard Berlin- 

Brandenburg 

Premiere: February 2011 

Küf (Mold, 2012) 

Feature; director Ali Aydin; co-production with Motiva Film 

and Yeni Sinemacılar; backed by Turkish Ministry of Culture, 

Filmförderung Hamburg Schleswig-Holstein 

Premiere: Venice Critic’s Week 2012 

Tell Me Who You Are (2012) 

Transmedia project/dance platform, backed by First Motion, 

Filmförderung Hamburg Schleswig-Holstein, European Union, 

Baltic Sea Region, Medienboard Berlin-Brandenburg 

Launch: September 2012 

Mach mir ein Date (Make Me a Match, 2012) 

Documentary feature; director Wendla Nölle, backed by 

Filmförderung Hamburg Schleswig-Holstein 

Release: End of 2012 

Helfgott (2013); feature documentary; director Cosima Lange 

In production 

I Am a B-Boy (2013) 

Feature documentary; director Eric Ellena; co-production with 

French Connection Films (Paris); backed by Filmförderung 

Hamburg Schleswig-Holstein, Centre National du Cinéma et de 

l’Image Animée, Procirep/Angoa

Endorphine Production 


Endorphine Production is an independent production company 

based in Berlin and dedicated to producing films which appeal to 

the international market. The company was founded in 2004 by 

German Film & TV Academy Berlin (dffb) graduates Marc Malze 

and Fabian Massah, who also gained experience as line producers 

on feature films such as the award-winning drama 4 Minutes. 

Massah is also a member of the ACE producers’ network and of 

the European Producers Club. 

The company’s German/Turkish/Dutch co-production Men on 

the Bridge, directed by Asli Özge, was completed in 2009 and 

won Best Film awards at festivals in Istanbul, Ankara, London 

and Adana. Following its international premieres in Locarno and 

Toronto, the film has been shown at more than 40 film festivals to 

date, including Rotterdam, Goa and Thessaloniki. It has also been 

released in Germany, the UK, the US, Turkey and the Netherlands, 

with France, Romania, Hungary and other countries still to come. 

Upcoming feature films in development include Unsettled, the 

fiction debut of writer/director Willem Droste, which was funded 

by the German/Polish Co-Development Fund and is co-produced 

by Opus Film from Lodz; and the English language supernatural 

thriller Rehab, directed by Marc Malze, which is currently being 

packaged with an international cast. 

Endorphine Production is also involved as a co-producer in the 

upcoming feature films Land, directed by Jan-Willem van Ewijk, a 

Dutch/German/M0roccan/Belgian co-production, which received 

funding from the Medienboard Berlin-Brandenburg; Luton, a 

Greek/German co-production directed by Mihalis Konstantatos; 

and Arunoday (Sunrise), an Indian/German/Netherlands coproduction 

directed by Partho Sen-Gupta, which was selected for 

the Locarno Film Festival’s Open Doors market in 2011. 

Fabian Massah 

Contact 

Endorphine Production GmbH 

Schliemannstrasse 5 

10437 Berlin 

Germany 

Tel: + 49 30 28 86 77 77 

Email: mail@endorphineproduction.com 

www.endorphineproduction.com 


Gringo Films 


Gringo Films is a feature film company based in Cologne, 

Germany. Our work is to develop and produce strong cinematic 

stories that appeal across borders. To this end, Gringo specialises 

in international co-productions, both as a majority and minority 

partner. 

Gringo was founded in 2008 by Steve Hudson and Sonja Ewers. 

Collectively, their experience in international co-productions 

includes True North, which premiered at the Toronto Film Festival 

and went on to win numerous international awards; and Lebanon, 

which won the Golden Lion at the Venice Film Festival. Gringo’s 

next film, Bethlehem, is currently in post-production. 


Project 

Duisburg 

Logline 

The true story of the bloodiest mafia killing in German history. 

Synopsis 

12 March, 2009. A tactical police unit storms an unprepossessing 

flat on the outskirts of Amsterdam. The police arrest Giovanni 

Strangio, 28 - the man identified by the authorities and the media 

as responsible for the Duisburg massacre of 14 August, 2007. 

On that day, six young men were executed by machine pistol in 

front of an Italian restaurant. One had been celebrating his 18th 

birthday that very evening. In his pocket, the burnt image of the 

Archangel Michael - a sign that he had just been initiated into the 

‘Ndrangheta, the Calabrian mafia. In return for lifelong loyalty, he 

was promised protection until the day he died. 

The Duisburg killings were the highpoint and finale of a brutal 

vendetta that had lasted 16 years. This feud stretched back from 

Germany’s post-industrial wasteland to San Luca, a village high 

in the Calabrian Aspromonte, in whose cramped underground 

bunkers the bosses of the ‘Ndrangheta lie hidden from the police 

- and each other. 

Neither the victims in Duisburg nor their murderers had much to 

do with the vendetta. They were simply pawns in a larger game, 

put there to kill and be killed. The massacre - like Strangio’s arrest 

- was above all a theatrical performance designed to show 

the world that the powers that be had regained control, and order 

had been restored. 

Through unprecedented, unpublished Carabinieri wiretap transcripts 

and court protocols, Duisburg brings the dead back to life, to 

tell both their own self-mythologizing tales of heroism, self-sacrifice 

and revenge, and to reveal the banality, pettiness and brute 

incompetence of organised criminality in everyday life. Ultimately, 

everyone – be it the media, the police, or the mafia - has more to 

gain by emphasising the former. Duisburg flips the coin to show the 

reality beneath.


“Aren’t you afraid?”, people sometimes ask. In fact, the risk is 

essentially zero - there’s nothing in Duisburg that hasn’t already 

been through the courts. But the vague, generalised fear behind 

this question is fascinating, since it is the true source of the 

’Ndrangheta’s power. The sub-text is clear: don’t get involved, look 

away - this is a big frightening monster that will bite your head off. 

It’s not just the ‘Ndrangheta who benefit from this fear. Journalists 

use it to sell papers, the police to lobby for higher budgets. 

We all love monsters. 

But the real monster is much more interesting than that… not 

just ruthless, cynical and violent, but also incompetent and banal. 

At times, we see the human face behind the monster mask. And 

that’s when it’s most frightening of all. 


In development 


Looking for a Dutch co-producer 

Steve Hudson Sonja Ewers 

Director 

Steve Hudson 

Producer 

Sonja Ewers 

Screenwriter 

Steve Hudson 

Based on 

authentic material 

Languages 

German, Italian 

Genre 

Crime epic 

Running time 

120 mins 

Target audience 

Male, 18-49 

Budget 

€3,500,000 

Contact 

Gringo Films GmbH 

Neue Maastrichter Strasse 12-14, 

50672 Köln 

Germany 

Tel: + 49 221 16 84 26 58 

Email: mail@gringo-films.com 

www.gringo-films.com 


Weydemann Bros 


Weydemann Bros was founded on November 2008 in Berlin, 

Germany and opened a second office in January 2011 in Cologne. 

The company produces films for the national and international 

markets. We have a vision of a narrative cinema that is both 

entertaining and political. For us, film always involves a critical 

look at the world and the times we live in. With our films, we do not 

only hope to get people laughing and crying, but to inform them 

and make them think. 


Project 

Europe’s Borderlands 

Europas Grenzen 

Logline 

An exploration of Europe’s borders, both in their literal 

geographical sense and in their metaphorical sense of freedom of 

movement and openness. 

Synopsis 

German filmmaker Jakob Preuss sets out to explore the periphery 

of the European Union – the geographical borders as well as the 

borders of identity and integration. As a child growing up in West 

Berlin, Preuss lived with the physical presence of the Berlin Wall 

every day. Now, after the reunification of Germany, the Schengen 

Agreement and the enlargement of the European Union to include 

the former Soviet satellites of Eastern Europe, the nearest land 

border lies about 1000 km away from his home. 

Jakob starts a personal journey to find out what these borders 

look like today. Are there new Berlin Walls out there? Who 

protects them and who is in charge? Are they doomed to vanish or 

do they have a definite character? Who determined them and does 

their actual placement make sense? What do they mean for the 

people living on either side of them? 

In the course of the journey we meet different people in very 

different locations. Some risk their life to protect the borders, 

some risk their lives to cross them, some make a living by trading 

or smuggling goods across them, some want to abolish them 

and some are just bored to death by waiting in the passport and 

customs queues. Europe’s Borderlands is both a melancholic 

meditation and a persistent examination of the political situation, 

underpinned by one crucial question: will the European Union 

replace sovereign national states any time soon?


I have always been fascinated by the European idea. I grew up in 

West Berlin, surrounded by a border, the Berlin Wall. When I was 

16, I moved to France. Afterwards, I spent some time in Spain and 

later studied law in Cologne and in Paris. For my civil service, I 

went to work in Russia, after having done a Master’s degree at the 

College of Europe in Warsaw. Wherever I went, borders seemed 

to be disappearing. Heavily guarded frontiers became somehow 

anachronistic in Europe. 

But this could be deceptive. The outer borders of the European 

Union might soon resemble the former Berlin wall. Borders are 

making a comeback and there are more of them in today’s world 

than ever before. Did we just move that wall that once separated 

the Cold War opponents further to the south and the east? What 

does the reality of life at these borders look like? And what do 

people living at them think about the EU? I want to follow these 

questions, looking for personal stories at the outer borders of the 

EU, to find out more about the idea of Europe as a cosmopolitan 

community of values - something I was advocating so ardently 

when I was a student. 


In development. Partners attached: ZDF Kleines Fernsehspiel; 

Film & Medienstiftung NRW 


Looking for co-producer(s) and world sales. 

Jakob Preuss 

Jonas Weydemann 

Director 

Jakob Preuss 

Producers 

Jonas Weydemann 

Jakob D. Weydemann 

Screenwriter 

Jakob Preuss 

Languages 

Polish, Greek, 

English, German 

Genre 

Documentary 

Format 

HD, 16:9 

Running time 

Two versions - 80 mins 

and 52 mins 


45-65 

Budget 

€467,200 

Jakob D. Weydemann 

Contact 

Weydemann Bros. GmbH 

Körnerstrasse 45 

50823 Köln 

Germany 

Tel: +49 221 63 06 05 29-0 

Email: jakob@weydemannbros.com 

www.weydemannbros.com 


zischlermann 

filmproduktion 


Susanne Mann and Paul Zischler both studied production at the 

German Film and Television Academy Berlin (dffb). 

The company, working in the German regions of Berlin, 

Brandenburg, Saxony and Baden-Württemberg, was formed 

some three years ago and has produced two feature films, 

one documentary and several shorts. We also work with other 

companies (film, TV and commercials) as line producers and 

production managers on a freelance basis. 

We are interested in both fictional and non-fiction stories: that 

is where our hearts beat strongest. Our goal, in addition to 

regionally located films, is to make international co-productions. 

We have been nominated twice for the Robert Bosch C0- 

Production Prize for projects from Serbia; have twice been 

nominated for German Film Awards for our shorts; and were also 

nominated for a European Film Award for one of our shorts. 

Because of our network of contacts and regular crew, we are able 

to make films on a limited budget, while our experiences working 

with international teams have confirmed that, in the long run, we 

want to be part of stories from parts of the world whose people 

and places are far from our own. 


Susanne Mann 

Susanne took part in several national and international 

productions as a production assistant and coordinator over five 

years. 

In her own responsibility projects like commercials („Michael 

Ballhaus Environment Initiative“, „Give Chances – German public 

children aid“), Imagefilms (Philipp Morris, Dubai Properties u.a.), 

Musicvideos („Juli – Dieses Leben“) und shorts (z.B. „What´s left“, 

„The New Dawn“, „The world is your oyster“ a.o.) she got nominated, 

together with her associate Paul Zischler, for the German Film 

Award and the European Film Award. She also works on a 

freelance basis for partner companies like Komplizenfilm, New 

Road Movies, Lagofilm and cine+ filmproduction. 

Paul Zischler 

Paul worked as a producer on several commercials and 

imagefilm-productions (“Hewlett Packard”, “Audi”, “Pepsi”), 

Musicvideos (“Juli”) and shorts as VERWEHTE starring Ulrich 

Mühe (for ARTE), the German- Israeli NACHTGEBET (financed by 

Medienboard and nominated for First Steps ), WHAT´S LEFT (as 

above). He also took part in the Feature Documentary “Football 

under Cover” (Winner First Steps, Berlinale 2008), worked for 

Wim Wenders “PALERMO SHOOTING”. Together with Susanne 

he coproduced the ZDF- Das kleine Fernsehspiel „Like Sailors“ 

with his company, which was shown at competition at Max-Ophüls 

Festival 2010 and Festival of German Film. As an assistant 

producer he joined “A Dangerous Method” by David Cronenberg in 

Berlin, Cologne und Vienna as well as for companies like Essential 

Film/ Coproduction Office, Cine Plus Production und New Road 

Movies.

Filmography 

In distribution 

Adams Ende (Max-Ophüls-Award 2011, Diagonale Competition 

2011), dir: Richard Wilhelmer; feature, associate producer 

Not in My Backyard (Premiere: Locarno 2011; opening film, 

Semaine de la Critique, Max-Ophüls; competition, IDFA 2012; 

Planète Doc Warsaw; Doc Ville Leuven), dir: Matthias Bittner; 

documentary; co-producer 

In post-production 

Land of the Free (working title), dir: Moritz Laube; political satire; 

expected release: January 2013; producer 

In production 

War 0f Lies (working title), dir: Matthias Bittner; documentary; 

producer 

Codename Pirat, dir: Eric Asch; documentary; co-producer with 

Imbiss Film, Munich 

Financing 

Humidity (working title), dir: Nikola Ljuca; drama; co-producer 

with Dartfilm (Serbia), ASAP Films (France) 

Miss Julie (working title), dir: Liv Ullmann; drama; co-producer 

with Maipo Films (Norway); Miss Julie Ltd, The Apocalypse Film 

Co, UK 

In development 

The Eremites (working title), dir: Ronny Trocker; drama; producer 

The Fifth Colour (working title), dir: Heiko Aufdermauer; drama; 

executive producer 

Shadows (working title), dir: York-Fabian Raabe; sci-fi; producer 

Other Life (working title), dir: tba; sci-fi; producer 

Susanne Mann Paul Zischler 

Contact 

zischlermann Filmproduktion GmbH 

Alexandrinstrasse 4 

10969 Berlin 

Germany 

Tel: + 49 30 577 09 75 20 

Email: kontakt@zischlermann.com 

www.zischlermann.com 


Baldr Film 


Baldr Film is the newly-founded production company of Katja 

Draaijer and Frank Hoeve. For many years, the pair collaborated 

at production company Ijswater Films, where they worked on such 

titles as Deep, Skin, Win/Win and the international co-productions 

22 May, Ellektra and Headrush. They have branched out on their 

own to make films that represent their personal vision. 

With Baldr Film, they will focus on developing and producing 

features and documentaries for a select number of filmmakers 

with a distinctive personal signature. In doing so, they plan to offer 

support in matters of content, so that the form and originality of 

the production always comes first. 

Their aim is for Baldr Film to develop into a company that 

produces innovative projects for an international market – a place 

where emerging, talented filmmakers feel at home. 

Katja Draaijer obtained her doctorate at the University of 

Amsterdam in cultural studies & film and television studies. She 

worked for 12 years at Ijswater Films as head of development 

and producer for fiction projects and documentaries. Since 2010, 

she has been a freelance script editor for fiction projects and 

a member of the advisory committee for feature films at the 

Netherlands Film Fund. 

Frank Hoeve graduated from the Haarlem Business School with 

a bachelor of economics degree. In 2004, he attended a course 

in film studies at the University of Barcelona. He worked as a 

producer at Ijswater Films for six years and for one year at Talent 

United, where he is still attached to the feature film Ola’s Universe 

(dir: Coco Schrijber) as executive producer. 


Projects in production 

Sevilla, short fiction; dir: Bram Schouw; in co-production with 

NTR; supported by the Netherlands Film Fund, Dutch Cultural 

Media Fund & the CoBo Fund. 

Little Mo, short documentary; dir: Sjoerd Oostrik; in co-production 

with VPRO; supported by the Dutch Cultural Media Fund. 


Discussing projects. Seeking sales agent and international 

distribution partners for Ola’s Universe by Coco Schrijber 

Frank Hoeve 

Contact 

BALDR Film 

Oudezijds Achterburgwal 77 

1012 DC Amsterdam 

Tel. +31 6 16080755 

E-mail frank@baldrfilm.nl 

www.baldrfilm.nl

Pupkin Film 


Pupkin Film is a Dutch production company based in Amsterdam. 

We produce feature films and television drama based on bold and 

thought-provoking stories. We hope to inspire the widest possible 

audience. We work with authentic filmmakers and we are proud of 

the long-lasting relationships we have built with all our partners. 

The company’s three producers/owners are Sander van Meurs, 

Pieter Kuijpers and Iris Otten. Our latest projects are the series 

Godforsaken, Freshers and Doctor Cheezy; and the features 

Manslaughter, Bellicher, Cel and The Deflowering of Eva van End. 


While producing our latest feature film, The Deflowering of Eva 

van End, which premiered in Toronto, we found that Dutch and 

Germans get along just fine; the film has a German actor in the 

lead role, has a German sales agent on board but is a typically 

Dutch film. 

Pupkin has yet to find the right production partner in Germany; 

hopefully this will change after September 29. 

Iris Otten 

Contact 

Pupkin Film 

Weesperzijde 4 

Amsterdam 1091 EA 

Netherlands 

Tel: +31 20 489 5088 

Email: iris@pupkin.com 

www.pupkin.com 


CTM LEV Pictures 


CTM LEV Pictures is the result of the recent merger between CTM 

Films and LEV Pictures, and is run by Denis Wigman and Sander 

Verdonk, who have between them over 30 years’ experience in 

producing feature films and documentaries. The projects initiated 

by CTM LEV Pictures are characterised by originality, creativity 

and – always - an eye for commercial and international potential. 

Recent credits include the documentary Anton Corbijn Inside Out, 

which premiered this year in the Berlinale Special programme 

and is being sold worldwide by HanWay Films; and the feature Plan 

C. The latter recently had its world premiere at the Fantastic Fest 

in Austin, Texas, with Protagonist handling the international sales 

and XYZ Films the US remake rights. 

Over the last few years, CTM Films and LEV Pictures have 

won many prizes, including a Golden Calf for Best TV Drama 

with Inside; Best Dutch Short for Sunset From a Rooftop; and, 

at Clermont-Ferrand, the Audience Award and prize for Best 

Comedy for Sugar. 

The company has many new projects in the pipeline, with both 

new and established directors. These include Satan’s Sonata from 

Alejandro Agresti. 


Project 

Kessels 

Logline 

Kessels is the outrageous account of an unplanned trip by writer 

Frans and his favourite character, J. Kessels in an old Toyota 

Kamikaze to the Hamburg Reeperbahn. It’s a quest to return 

a philandering crook to his wife, and finally fulfill Frans’s prepubescent 

sexual dreams. 

Synopsis 

Frans, a crime writer, is finishing the opening line of his new 

bestseller - “It all started with one of those telephone calls that 

you hope you won’t receive” – when the phone starts to ring 

annoyingly in his study. Frans answers it… and off goes the film! 

Kessels is both a hilarious road movie and a bittersweet trip down 

memory lane. The film is a crazy ride in a flame-trimmed Toyota 

Kamikaze from provincial Tilburg to the Hamburg Reeperbahn 

and back. It’s also a hallucinatory trip through the mind of an 

author who no longer knows if his novel is a product of his own 

imagination or if he is a supporting character in someone else’s 

story. 

The lead character is J. Kessels, a chain-smoking tough guy with 

a heart of gold. Kessels and Frans are ageing youngsters who 

like nothing better than to consume nicotine, beer and country 

& western music. However, in Frans’s novels, Kessels and he 

are fearless crime fighters - heroes! - who create a flurry of 

misunderstanding wherever they go. 

The man at the other end of the phone asks Frans if he and 

Kessels want to travel to Hamburg to kidnap a philandering 

criminal and return him to his wife. Frans accepts the task 

because the caller is the younger brother of BB, aka Brigitte, the 

scorching hot stunner from a diner called The Old Days, who was 

once the focus of little Frans’s pre-pubescent sexual dreams 

and awakening. Frans expects that, after 35 years of lonesome 

wandering and writing, the trip will finally drive him into the arms 

of the object of his childhood affection. 

The missing person case doesn’t amount to much; but what 

don’t the two come across along the way? Steaming tarmac, 

burning rubber and J. Kessels’s Kamikaze. Booze and nicotine 

binges. Deafening country & western. Totenköpfe. Reeperbahn

porn versus courtly love. Flying Burritos. Prostitutes. A Turkish 

pimp who quickly becomes a bothersome corpse in the trunk of 

Kessels’s car. Recalcitrant characters – even Kessels goes on the 

run with Frans’s ingeniously constructed plot. And Frans has still 

to meet BB, who is also – small oversight on Frans’s part– pushing 

50. 

Kessels is an adaptation of J. Kessels the Novel, the cult literary 

work by P.F. Thomése. 

Filmography Erik de Bruyn – Director 

Erik de Bruyn’s first feature WILD MUSSELS was the opening film 

at the Dutch Film Festival 2000. Nominated for Best Script and 

Best Actor, it received the Dutch Film Critics Award of Best Film, 

the Russian Film Critic Award and the Youth Award for Best Film. 

Ten years later, it has become a Dutch cult classic. 

In September 2007 NADINE, Erik’s second feature film was 

released. The film was Opening Film at the International 

Mannheim Heidelberg Film Festival. His third feature film THE 

PRESIDENT, a comedy, was released in 2011. 

Erik de Bruyn also directed several short films (SPRING SONG 

2005) Nominated for the NPS Award, THE WITNESS (nominated 

as BEST SHORT Golden Calf 2006 and winner of the Best Short 

Film Award of the Italian Republic, IFF Montecatini) and many 

commercials. 

Erik de Bruyn is also a scriptwriter. 


Finished script; financing. 


To find German and Belgian co-producers, as well as meeting 

international distributors and sales agents. 

Sander Verdonk Erik de Bruyn 

Producers 

Sander Verdonk 

Denis Wigman 

Director 

Erik de Bruyn 

Screenwriter 

Jan Eilander 

Based on 

J. Kessels: The Novel 

by P.F. Thomése 

Languages 

Dutch, German 

Genre 

Absurdist road movie 

Format 

HD 

Running time 

90 mins 

Target Audience 

primary men/women, 

35+, arthouse; secondary, 

students, 20-28 

Budget 

€1,400,000 

Contact 

CTM LEV Pictures 

Emmastraat 21 

1211 NE Hilversum 

Netherlands 

Tel: +31 35 647 40 40 

Email: sander.verdonk@ctmlevpictures.com 


Keren Cogan Films 

& Phanta Vision Film 

International 


Keren Cogan was born in Beer – Sheva, Israel in 1981. In 1993 

she moved to the Netherlands. As she always had a passion for 

film, she started working on film sets in various positions. After a 

few wanderings she began studying production at the Dutch Film 

Academy (NFTA) in 2004. In her third year at the Academy Keren 

worked as a junior producer (internship) at Phanta Vision Film 

International. In 2009 Keren graduated, working as a producer 

on two films: the documentary film TZIRK by Nova van Dijk and 

fiction film WES by Peter Hoogendoorn (Cineville Audience Award 

2009,Leids Film festival IJzeren Haring Award 2010, Cinestud film 

festival Audience Award 2010). 

After graduating Keren got the chance to start her own company 

Keren Cogan Films in partnership with Phanta Visions Film 

International, working on the 

development and financing of various film projects, of which the 

first one 

KATTENKWAAD (Cat and Mice). (Dutch entry Academy Awards 

Life Action Short 2010, Best Short Live Action Film (15 and 

under) Palm Springs International Shortfest). She is now bust 

financing a feature film BETWEEN 10.00 -12.00 by director 

Peter Hoogendoorn, and has two Israeli co-productions in 

postproduction. 

Filmography Keren 

Cogan Films 

2012 Show Me Love, short fiction; dir: Peter Hoogendoorn 

2010 Kattenkwaad, short fiction; dir: Nova van Dijk 

2009 8 hoog, short fiction; dir: Galed Hamed 

Wes, short fiction; dir: Peter Hoogendoorn 

2008 Tzirk, short documentary; dir: Nova van Dijk 

Filmography Phanta Vision Film International 

2012 Istanbul, feature; dir: Ferenc Török 

2010 Kattenkwaad, short fiction; dir: Nova van Dijk 

2009 Great Kills Road, feature; dir: Tjebbo Penning 

Piet Esser: Verbeelden van het zien, documentary; 

dir: Hansje Ran 


Project 

Between 10 and 12 

Tussen 10.00-12.00 

Logline 

When it comes to death, life is full of futility. This futility colours 

our perception of time - time that passes, that is lived and is being 

experienced. Time stops for no one, is irreversible and can pass 

agonisingly slowly. 

Synopsis 

On a beautiful summer’s day, two policemen are on their way 

to bring a family the news that their daughter has died in a car 

accident… 

At that moment two young lovers, Raymond and Katja, unaware 

of any of this, have just begun a new day. They are preparing to go 

to the beach. Just as Katja is boiling her four-minute egg, with the 

beach bag already packed, the doorbell rings… 

The warm sand is exchanged for the plastic-protected back seat of 

the police car heading for Gerard, the father of the deceased girl. 

We glide in a straight line across the city, until we arrive at the bus 

depot where Gerard works. 

Unaware of what has happened, Gerard tells one of his employees 

off, tries to tie his tie, eats some bits of apple and sees a police car 

in the distance - a police car out of which steps his son Raymond… 

The ordinary working day in which the time passes as always has 

given way to the back seat of a police car where time seems to 

stand still. 

Again, we glide in a straight line across the city until we meet 

Cristina, the mother of the dead girl, who is at work and worrying 

about a run in her tights… 

Until she sees Gerard.

Director’s filmography 

2012 Show Me Love, premiere at NFF 

2009 Wes (graduation film; Cineville Audience Award, 

Leids Filmfestival; Ijzeren Haring Award; 

Cinestud Filmfestival Audience Award) 

2009 Earth Water, commercial 

2008 Lost Persons Area, making of 

Spaarlamp, commercial 

2008 Broers, short 

2007 Liefje kom je nou nog? 

Zonder morgen 

2006 Le lait, le lait 

Kleurenblind 

2005 Doen 

Mijn plek 

2004 Acrofobia, Duistere Openbaringen Award 

2000 The Hoover, First Prize Reject Filmfestival 


Financing. 


Seeking co-production partners / International sales. 

Keren Cogan 

Peter Hoogendoorn Petra Goedings 

Producer 

Keren Cogan 

Director 

Peter Hoogendoorn 

Screenplay 

Peter Hoogendoorn 

Based on 


Language 

Dutch 

Format 

Digital 

Length 

90 mins 

Budget 

€1,463,725 

Contact 

Keren Cogan Films & Phanta Vision Film International 

Gijsbrecht van Aemstelstraat 16-18 

1091 TC Amsterdam 

Netherlands 

Tel: +31 6 48 33 32 44 

Email: info@kerencoganfilms.com 

www.kerencoganfilms.com 

www.phantavision.com 


Smarthouse Films 

“Smarthouse = Commercial arthouse or vice 

versa, linking music, arts and graphic design 

into the world of film, serving a young global 

audience.” 


Danielle Guirguis started her career working for production 

company Fu Works on Tim Oliehoek’s Vet Hard and Paul 

Verhoeven’s Black Book. She then joined Academy Award winning 

Eyeworks Film & TV, as an Assistant Producer and Marketing 

Manager on The Letter for the King and later as Executive Producer 

on Reinout Oerlemans’ Stricken and Antoinette Beumer’s The 

happy Housewife. 

In 2010 she set up her own production company Smarthouse Films 

that focuses on commercial arthouse or vice versa, linking music, 

arts and graphic design into the world of film and documentary, 

serving a young global audience. In 2011 she produced the short 

Undertow, selected for the Netherlands Film Festival and in 2012 

the short film Ten Minutes Left. Besides, she freelances for Dutch 

production company Shooting Star Filmcompany, for which she 

produced Furious and De Groeten van Mike. 


Project 

La Holandesa 

Logline 

What happens to a woman when her desire to become a mother 

cannot be fulfilled? 

Synopsis 

Maud (40) has only one desire: to become a mother. Although 

doctors have told her this is not going to happen, Maud still has 

sparks of hope. Her boyfriend Frank (43) tries to save their fragile 

relationship by taking Maud to Chile and trying to get her to focus 

on a future for the two of them. But he soon discovers that Maud 

is desperately holding onto the idea of having a baby and that 

nothing will stop her. He can’t bear to see her destroying herself 

and leaves. 

Maud stays on alone in Chile and loses all connection with herself 

and reality. She has only one overwhelming goal: to have a child 

no matter what. In a desperate attempt to keep herself sane, 

she invents Messi, an eight-year-old who keeps her company 

and prevents her from doing things she would regret. He has no 

expectations and loves her unconditionally. 

But during her trip from the cold majesty of the south of Chile to 

the sweltering desert in the north, Maud starts to realise that she, 

not a child, is the only one who can make herself happy. So she 

has to let go of her dream. And of Messi.

Writer’s statement 

La Holandesa is a film about desire and a person’s drive to fulfill 

this desire, whatever it takes. For Maud, the desire to become 

a mother is under her skin. It’s her oxygen; it keeps her going. 

Threatening her sanity, it is destructive for her relationship both 

with herself and with Frank. 

Being a woman who can’t have children myself and having had 

some desperate moments as well, I was wondering how far a 

woman would go and what it would bring her. How do you go from 

(false) hope to denial and even despair and finally acceptance? 

That’s what I would like to explore with La Holandesa. 

Maud does not just feel the pain of not having what she wants: 

she also starts to feel like an outsider. She doesn’t think much of 

herself as a woman. On her road trip through beautiful Chile - I 

see the landscape as a major character in the film - Maud leaves 

victims and chaos, something you wouldn’t think of her doing in 

her better days. Fortunately, there is the invented Messi, the only 

positive factor in her life. But Maud also realises that Messi can’t 

be with her for ever. 

In the end, La Holandesa, is a film about hope - hope that there are 

other desires and things to live for - and beauty in every person. 


La Holandesa originated as the short film Undertow which Daan 

Gielis wrote and Danielle Guirguis produced. The script is being 

developed at the ‘Script & Pitch’ lab in Turin and is supported by 

the Netherlands Film Fund. Within the next couple of months, we 

will attach a director and apply to the Netherlands Film Fund for 

production money. Shooting is scheduled for autumn 2013. 


To find a co-production partner for a Dutch project to be shot in 

Chile, plus a sales agent and a broadcaster. 

Danielle Guirguis Daan Gielis 

Producer 

Danielle Guirguis 

Director 

tbc 

Screenplay 

Daan Gielis 

Languages 

Dutch, Spanish, English 

Genre 

Drama 

Shooting format 

RED 

Length 

90mins 


Women, 25-45 

Contact 


Amstel 352 

1017 AS Amsterdam 

Netherlands 

Tel: + 31 6 21 24 37 31 

Email: danielle@smarthousefilms.nl 

www.smarthousefilms.nl 



Project 

Carmen’s World 

Logline 

Carmen lives in her own dream world, in which everything 

revolves around her, until the moment she falls madly in love 

with a male version of herself. Then he dumps her, and Carmen is 

transformed into a goddess of vengeance… 


Synopsis 

Carmen: it’s all about Carmen. That is how she sees the world and 

that is how she shapes it. She can’t help it; her father has always 

told his little princess that life is what you make of it and that she 

could have everything she always wanted. 

Now she is an art student in her twenties. Her father was right: 

what she wishes for happens and this is how she lives in her 

magic-realist dream. Every Tuesday, she buys her dad a present. 

The other day it was The Encyclopaedia of Psychoactive Drugs, Series 

2: Bad Trips. 

Emil from Iceland is a vegetarian and is hopelessly in love with 

Carmen. He knows he doesn’t stand a chance and accepts the 

‘best friend’ role. He kills seagulls as a side job, to make sure they 

die with dignity. He drops them off at the abattoir. 

At a food-fight-party, covered in liverwurst, Carmen meets Chris. 

For a moment, her world stops. From then on, it’s all about Chris. 

Carmen’s aunts try to warn her but she won’t listen. 

Carmen and Chris tour the canals of Amsterdam, go swimming 

for a day in Nice, and have the best sex ever. This is how love is 

meant to be, just like in the movies. Emil is history. In Paris, where 

Chris’s parents have an apartment, things start to change. But, 

blinded by love, Carmen doesn’t notice a thing. 

And then it’s over. Carmen has met her male version, seduced 

him and suffocated him. For the first time in her life, she’s been 

dumped. Emil is allowed back into her life to comfort her, but 

instead he makes her furious. Nobody understands her. She has to 

do something so she can slip back into her dream world. She can’t 

live like this. Neither can Chris. 

Chris has to die. Only then will it be all about Carmen again.

Writer’s statement 

Carmen: egocentric and raised with the idea that everything can 

be achieved in life. She meets Chris, a male version of herself. He 

also believes he is completely in control of his own world, which 

he can shape and mold in every way. They fall in love. He dumps 

her, she is furious, he is dead. That is one way to look at this story. 

What makes the story interesting and worthwhile is the 

radically individualistic and egocentric aspect of the characters. 

Conforming to the zeitgeist, their focus is on fun. Everything they 

do is driven by the thought that it should be fun and amazing, as 

far away as possible from mediocrity. 

But fun is like a Big Mac: you stuff it in and you’re hungry again. 

Only the moment of consumption is pleasant, but that is followed 

by a hung-over feeling, a void. In Carmen’s magical-realist world, 

there is only one way out of the void; Chris must die, so the world, 

the stars and the planets can get back into balance again. 


Carmen’s World is in development; a treatment is available and, 

within the next couple of months, the script will be written and we 

will start financing. Shooting is scheduled for autumn 2013. 


To find a co-production partner, a sales agent and a broadcaster. 

Stephane Kaas 

Director 

Stephane Kaas 

Screenplay 

Tjeerd Posthuma 

Based on 

the book Alles is Carmen 

by Alma Mathijsen 

Producer 


Language 

Dutch 

Genre 

Magic realism/crossover 


RED 

Length 

90 mins 

Budget 

€1,000,000 


25-45 male/female 

Contact 


Amstel 352 


Netherlands 

Tel: + 31 6 21 24 37 31 





Project 

Dutch Dance – Afrojack 

in the House 

Logline 

Immerse yourself in the energetic, mega cool and crazy world of 

Dutch dance music. With superstar DJ/producer Afrojack’s career 

as a leitmotiv, the film seeks to answer the question of where the 

massive international Dutch success in this field comes from. 


Synopsis 

Armin van Buuren, Tiësto, Fedde le Grand, Chuckie and the 

hottest DJ/producer of this moment, Afrojack, have millions of 

fans all over the world and make shitloads of money with their 

gigs. The Dutch, in case you hadn’t noticed, are taking over. For 

25 years, dance has been deeply rooted in urban youth culture 

and nightlife and DJ’s have grown to be superstars. Never before 

were the Dutch so involved and influential on the international pop 

scene. 

The film seeks answers to the question of where the success of 

the Dutch in this field comes from, using the career of Afrojack as 

a leitmotiv throughout the film. The 24-year-old Nick van de Wall 

from Spijkenisse, a suburb of Rotterdam, makes over $150,000 for 

a gig, remixes the records of Madonna, Lady Gaga and Rihanna 

and headlines the biggest international festivals and clubs like 

the Ultra Music Festival, Coachella, Sensation and the notorious 

Pacha on Ibiza. He was nominated twice for a Grammy Award and 

won once. 

It seems as if Afrojack has been catapulted out of nothing into 

stardom, but nothing could be further from the truth. He is only 

the latest in a long line of successful Dutch DJs such as Armin van 

Buuren, Tiësto, Ferry Corsten, Chuckie, Fedde le Grand, Laidback 

Luke, Junkie XL, Michel de Heij, Sander Kleijnenberg, DJ Jean, 

Paul Elstack and Speedy J. 

We go back to the roots of dance music, originating in the 1980s, 

touching upon different musical trends and the drug culture, the 

rise of massive raves and festivals like Sensation and Dance Valley 

in the 1990s, to where we are now: a Dutch sound built around 

a high-pitched synth packing bags of explosive energy and hip-hop 

attitude into a four-four template, with chopped vocal snippets and 

military drums giving it a European slant comparable to US club 

music. 

The crisis of the 1980s was reflected in the music of that era: 

negative and ‘against’. The booming economy of the 1990s brought 

along a positive, creative and loving sound, enforced by the new 

drug XTC, while the 2000s were characterised by a fin de siècle 

mentality of huge raves where people partied like there was no 

tomorrow. Can these elements help us explain the rise of a true 

Dutch sound that gradually finds its way onto a world stage, bringing 

an underground sound to the overground?


The film will portray Afrojack’s life as a DJ/popstar in a critically 

observational style, intercutting his story with the history of 

dance, fuelled by interviews with experts from the dance scene 

(DJs and journalists) and social experts (sociologists, drug 

experts, cultural anthropologists). A non-chronological eclectic 

visual style will be adopted, complete with witty animation and 

voice-overs, delivering an entertaining and ground-breaking 

insight into something deeply rooted in modern-day society. 


In pre-production. Shooting October 2012 – July 2013. 

Due to premiere at the Amsterdam Dance Event, October 2013. 


To find a broadcaster, distributor and sales agent. 

Sacha Vermeulen 

Director 


Producer 


Writers 



Editor 

Bas Icke 

Camera 

tbc 

Featuring 

Afrojack 

Armin van Buuren 

Tiësto 

Laidback Luke 

Fedde Le Grand 

David Guetta 

and many more 

Genre 

Eclectic music documentary 

with graphic 

elements 

Running time 

52 mins for TV; 75 mins 

for theatrical release 

Language 

English 


Canon 7D 

Budget 

€150,000 

Contact 


Amstel 352 


Netherlands 

Tel: + 31 6 21 24 37 31 




Viking Film 


Viking Film aims to be cross-border and to make high quality 

films for both Dutch and international audiences with a special 

focus on international arthouse, children’s and family films, 

and animation films. Viking has two films in post-production - 

the short animation films Goodbye Mister De Vries (dir: Mascha 

Halberstad) and As Boys Grow (dir: Charlotte van Otterloo) - and 

the co-production Leones, by the Argentine director Jazmin Lopez, 

which was selected for Venice 2012. 


Project 

Luna 

Logline 

After his sudden death, Luna discovers that her lover Boris had 

been leading a double life. Numb and confused, she secretly runs 

away. In the world of truckers, craving for the child she has left 

behind, Luna tries to start mourning. 

Synopsis 

When the love of her life, Boris (44), a lorry driver with a strong 

and captivating personality, is killed in an accident, Luna (36) finds 

out that he’s been leading a double life. As it turns out, he was 

married to someone else and had a second family all along. The 

shock of both the sudden loss and the long-term deceit causes her 

to collapse. 

In this state, as she struggles with strong and contrasting 

emotions, the very sight of her daughter, Pien (5), who needs her 

now more than ever but who is also the living evidence of both love 

and lies, becomes unbearable for her. 

After the funeral, during which we witness how sincerely loved 

Boris was by many people and how hard the blow of his deception 

must have been, Luna’s pain grows to the point where, on the spur 

of the moment, she dumps Pien, leaving her in the garden of the 

other family. 

On the run after having done that, she wanders aimlessly, bursting 

with anger, grief and remorse. The only way she can vent her raw 

emotions is by singing - an instinctive survival strategy. And thus 

the process of getting over her loss slowly begins.


Luna shows the beautiful and ugly sides of life, a quality typical 

of screenwriter Helena van der Meulen. The same goes for the 

subject: heavy at first sight, but never depressing and always 

touching. The power and the beauty of the images and the music 

that plays an important role in the film will strengthen this even 

more. 

The plan for Luna stems from the idea of writing a screenplay 

with a main part for the famous Dutch singer Wende Snijders, an 

expressive as well as intriguing personality. The arena is that of 

truckers: transport cafes, pull-ins, lay-bys, motels, petrol station 

shops, red-light districts - all places offering brief contacts for 

those who are on the road and don’t want to stay anywhere. 

We believe Luna has the potential to reach a wider international 

audience. We look forward to making an artistic film with a 

wide reach and a higher level of ambition by working together 

with Wende, but also by organising the film as internationally as 

possible both in content and in financing. 

Part of the cast can be German and Belgian, which enlarges our 

casting opportunities immensely. We want to make a film that is 

Dutch but actually feels un-Dutch, giving it crossover possibilities 

in the Dutch release as well as in its international distribution and 

festival potential. 


At the moment, we are working on the final draft of the script 

and are setting up the international financing together with coproducers 

A Private View (Belgium) and La Dolce Vita (France). We 

are still looking for a German co-producer. 

The project has been selected for the Berlinale Residency, where 

we can work in close contact with individually selected mentors 

and market experts to finalise the script and develop production 

and distribution strategies on the way to a successful (inter) 

national theatrical and festival release. 


We are searching for an enthusiastic German co-producer to work 

closely with us on the project. We would like to be able to apply to 

the Film und Medienstiftung NRW and nordmedia, in whose areas 

important parts of the film will be shot. 

Sacha Polak 

Director 

Sacha Polak 

Screenwriter 

Helena van der Meulen 

Based on 


Producer 

Marleen Slot 

Languages 

Dutch, German, 

English, French 

Genre 

Road movie 

Format 

tbc 

Running time 

90 mins 


18+ 

Budget 

€1,600,000 

Contact 

Viking Film 

Lindengracht 17 

1015 KB Amsterdam 

Netherlands 

Tel: +31 20 625 4788 

Email: marleen@vikingfilm.nl 

www.vikingfilm.nl 

Helena van der Meulen 

Marleen Slot 


32Nd NeTherlaNdS film feSTival SepTemBer 26 - ocToBer 05, 2012 filmfeSTival.Nl

german/ dutch producer meeting - Nederlands Film Festival

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