The best Bert Luppes’s movies
If you love cinema, you will share this ranking of the best Bert Luppes’s movies, although you may have ordered them differently. In any case, we hope you love it and with a little luck discovering a movie that you still don’t know about Bert Luppes.
Black Book
7.7/10
In the Nazi-occupied Netherlands during World War II, a Jewish singer infiltrates the regional Gestapo headquarters for the Dutch resistance.
Kenau
6.5/10
While she fights a heroic battle against the Spanish besieger with her female army, Kenau, driven by hate and sorrow of the execution of her youngest daughter, is threatened to also lose her eldest daughter, because her fear and pain are covered by her stubborn closeness.
Saint
5.6/10
A horror film that depicts St. Nicholas as a murderous bishop who kidnaps and murders children when there is a full moon on December 5.
The Dress
6.9/10
The story of a summer dress and those who have to do with it, especially the train conductor (played by van Warmerdam, the director). The dress functions as catalyst for the whimsical events, which turns out to be either tragic or hilarious.
The Letter for the King
5.9/10
Young Tiuri has to pass the final test before before being knighted by king Dagonaut. He has to pass a night in the chapel, what is suddenly disturbed by a strangers request of help. With his decision to help the stranger, Tiuri abandons his given task and starts into an adventure, that will shape the destiny of Dagonaut. On his journey he learns about the true meaning of love, friendship, courage and loyalty.
Oom Henk
6.8/10
Handsome, clever final year law student Koen avoids being beaten up by street thugs by claiming he's a maternal cousin of crime baron Henk de Koning. The next day, 'uncle' Henk praises Koen's wit and commandeers his 'cousin's' help to retrieve the treasure presumably hidden by disloyal accomplice Sjon de Nooyer, who was released from jail to a retirement home, by volunteering as an orderly, posing as Sjon's distant relative. Dirty police detective Uitenhaage is after the same fortune, and leans independently on innocent Koen to spy on Sjon.
AmnesiA
6.5/10
Alex, a 28 year-old photographer, is no longer able to photograph people, for some mysterious reason. Every time he focuses his camera on someone, the same woman appears in his viewfinder - an image he cannot bear. When his brother Aram, whom he has not seen or spoke to for years, unexpectedly phones him and asks him to come to their parental home because their mother is severely ill and may not have long to live, he panics. The thought of a confrontation with the area where he grew up and the renewed encounter with his family makes him feel nervous. Nevertheless, that evening he leaves for AmnesiA: the estate of his parents, the spot where he spent his youth.
Adrift
6.3/10
Fifteen-year-old Sammy has recently become aware of desires she awakens in men but one man to whom she is herself attracted is her older brother Jacob. With an institutionalized father and a mother neither sibling has seen for years, Jacob provides for the household through his trade in meat declared unfit for human consumption. This situation has sufficed for years but the dedication with which Jacob watches over his little sister leaves her no room to mature as a woman...
In My Father's Garden
5.9/10
The story of a loving man and father who falls under the influence of an extremely orthodox Protestant sect. He sacrifices everything and everyone to this faith, including his business and the respect of his younger son. However, he never loses the love of his wife.
Blood, Sweat and Tears
7.1/10
Blood, Sweat and Tears is a story about the life of Andre Hazes, a Dutch popular singer. It shows three crucial phases in the life of Hazes: his youth (in the 1960s), his breakthrough (1980s) and the last year of his life (early 2000s).
Feast
5.2/10
In FEAST, perpetrators, victims and their spectators become involved in a dramatic reconstruction of the Groningen HIV case. The film tells a story about power and surrender, the reversibility of truth and the desire to come home somewhere.
Porcelain
6.2/10
Paul and Anna live an apparently happy and successful life. But when their son inexplicably falls ill, the facade of a seemingly happy family life crumbles completely, like brittle porcelain that can no longer be glued.
Miracle Monks
5.7/10
Five monks live harmoniously in the monastery but suddenly their peace is disturbed by a gang of construction workers. The leader of the church sold the monastery to the town council, and now their beloved home is destined to become a spa! The monks' desperate attempts to stop this situation seem in vain, but then - a miracle! The monastery is saved. But that is just the start of their troubles...
Han de Wit
6.6/10
Has is a strange kid: at school he's a nice student but at home he's dominating his parents... .
Alleen op de wereld
8.8/10
Remi (played by Julian Ras) is a foundling, but apart from that he's just a normal boy, who lives an ordinary life together with Betty Barbarin, the mother who found him. Untill his eleventh birthday, when a big truck stops at their door and Betty's husband returns home after many years. Jerome thinks it's too much, two men under one roof. He takes Remi with him in his truck and abondons him at a gasstation.There Remi is found for the second time in his life. He travels with Vitalis and his animals in their old van. This is the beginning of an adventurous journey in which Remi makes and loses friends and through all the ups and downs finally finds his happiness.
De laatste dagen van het atelier Frans van de Staak
The importance of the Atelier as a meeting and working-place for independent or beginning filmmakers is highlighted in Last days of Studio Frans van de Staak a necrology of his films by Kees Hin (2002), which focuses mainly on Van de Staak's non-naturalistic style of directing actors.
Schijnsel
Every scene of the film comprises a dialogue between a man and a woman. The dialogues are fragmentary, in other words, the dialogue in one scene does not tie in with that of the next. In addition there is no development in the relationship between the actor and the actress towards a happy or unhappy ending. The dialogues are not only of substantial interest; it is above all material for the actors. The film balances on the boundary between portraying an intimate relationship between a woman and a man and the intimacy in the acting between the actor and actress. When an actor or actress hardly has any words in a scene, he or she portrays loneliness; when he/she has a monologue, then the attention is focused on speaking the text, on (the reflection about) being an actor. (Wim Schlebaum
Eenmaal geslagen, nooit meer bewogen
6/10
