A film about Leonie Brandt, an actress who used her talent to become a brilliant double agent, living a life shrouded in intrigues and mysteries.

In the period 1891-1927, Henriette Roland Holst goes through a dramatic development. As an aspiring poet from an affluent bourgeois milieu she throws herself, full with idealism and conviction, into the labour movement. Within the various socialistic parties however, a fierce battle on direction takes place, wherein Henriette has trouble finding her place. After returning disillusioned from a trip to the Soviet Union, she does not feel at home in any leftist party. Later she will recollect on this period in her biography "Het vuur brandde voort" (translation: "The fire rages on"). The film reconstructs this period with the use of old film material combined with texts by Henriette Roland Holst herself: fragments from letters, poems, speeches and books, sparingly supplemented with personal commentary by the filmmaker.

Fien de la Mar (1898-1965) was a Dutch actress with exceptional allure and extraordinary talent. With this she celebrated many triumphs, but her life ultimately ended in tragedy.

An unlikely friendship blossoms between Elsa, a preppy, idle, spoiled blond who calls herself Gino, and Nina, a wannabe anarchist who plots with three others to blow up an arms factory. Nina is often sour and tempestuous, but with Gino she's spontaneous and funny. Yet the friendship often founders, as the feckless Gino spoils Nina's frequent and demanding plans. They decide to rob Gino's rich uncle to pay for bombs and creature comforts, they sneak into a stranger's house, they steal a painting belonging to one of Gino's boyfriends, bombs fail to explode, and Gino costs Nina the trust of her anarchist pals. Then comes the crocodile test, the ultimate for any friendship.

改编自伍尔芙最受争议的女性意识流小说《海浪》。 A film not for everyone. The film is a sort of decontructivistic art movie. All texts are voice-overs. Poetic but also alienating. The actors are not only acting, but also rehearsing, trying on dresses, traveling etc. There was some marxistic-leninistic theorising responsible for that. I doubt if even the director still nows the theory,but it dictated that it should be visible that the actors were acting,so it is their reality that is shown, not a make believe reality. The music is by an important classical Dutch composer Louis Andriessen. ( Also very en vogue left-wing at that time). It's quit remarkable. The film was brought out again to celebrate the 25th. birthday of the studio nieuwe gronden. An independent small production company of artistic great importance. The film is not digitally remasterd and restaurated, but put to DVD straight from the celluloid. And I must say, I was delighted to see a movie with celuloid cracks and sound scratches, like a movie should be. I didn't know I'd mis that, but now I've seen this film: I do! GOLVEN is based on THE WAVES (1931) by Virgina Woolf. There are six main characters in the film who are continually trying to recapture the sense of harmony which they knew as childeren. Throug their thoughts the intensity of childhood, the optimism of youth an the desilllusion of later years are portrayed. Their perceptions and feelings move back and forth through the narrative live waves. The presentation of the thoughts of the six characters which cover their development from child to adult is a challenge to confront one's own life. The central event in the film is the meeting of Bernard, Neville, Rhoda, Jinny, Susan and Louis at a restaurant in London in 1920. They meet for dinner on the eve of Percival's departure for India. In a sense Percival acts as a mirror in which each character sees his own ideal image. He himself remains a mysterious figure. Immediately after this dinner, which evokes harmony and happiness on various levels, they learn that Percival has been killed in a riding accident. His death marks the beginning of the decline of the group and of its individual members. This is not the film of a book in the normal sense. Its images are inspired by the form of the novel, and it takes us on a voyage of discovery. It moves from elements of the present towards the historical fiction, which is re-experieced in a way which is only possible in film. After the death of Percival it becomes clear that the carefully constructed fiction cannot survive and it collapses. The illusion that life and reality are continuing stories in which events follow each other logically is lost.

本片记录工人铺设沥青的全过程。大量内部机械运动的特写，旋转喷气机和结晶的道路构成了一首富有韵律的影像诗，让人想起法国先锋短片《机械芭蕾》。但如果你从《机械芭蕾》里体会到的是眼花缭乱的幻觉，在本片中则完全是缓慢而从容不迫的，是一种慢节奏的美。作者意在让观众把冰冷的机器看做有生命的主角，而奇妙的摄影术显然实现了他的目的。Annette Apon的作品向来归属先锋派，82年他曾将伍尔芙的意识流名作《波浪》改编成同名电影并获得成功。 The film is a study in black-and-white of the asphalting of a piece of road. Close-ups of the internal mechanism, rotating blades and the caterpillar tracks give a visual, rhythmic impression of the workings of a machine. The director also plays around with the laws of filmmaking. Instead of showing man in close-up and the surroundings as wide shots, the machine is continuously in close-up, and the men who work it in wide shots. The effect of this technique is that the machine comes across as a character and is experienced by the audience as a person.